Paradigm Of Space Of Chinese And Western Painting

Nowadays, the Chinese art of painting has been in a condition where the society is modernizing and globalizing rapidly. The opinion that modernization must bring technical rationality has been eroding the traditional art. Also, the communications under the globalizing language environment have intensified the value conflict between tradition and modern; east and west. It has made Chinese art of painting into an unprecedented circumstance of peripherization and befuddlement: it is hard to exceed the historic logic of traditional painting and hard to break through the modern opinion of western painting. It also becomes a precondition issue that is put forward to the modern Chinese art circles.The difficulty of Chinese painting’s innovation is to get rid of the shackle of tradition, at the same time, get out of the cage of westernization. The author believes that to solve the problem of Chinese painting, we need to compare the specialty and history between Orient and West. Only if we understand it, can we find out the direction of the future development under this globalizing environment. So that in this essay, the author integrated the internal values of Chinese and Western painting and the exterior spatial expression into different paradigm of Chinese and Western painting to overcome the split which broke the globality of Chinese and Western painting as what we used to do. Through the method of comparing the“unity without uniformity”, spatial paradigm between Chinese and Western painting and the reason of it to explore the common road of Chinese and Western painting under the condition of globalization.It is the first time to use paradigm as the core concept and literary view to be introduced to the painting field and also, the author creatively rise up the issue about the western painting’s“percepts”spatial paradigmTake painting space paradigm as the foundation, the author has developed and analyzed the idea that painting is the artistic being of the space idea, and space is the idea that has been dragged from reality to abstract. The fundamental differences between Chinese and Western painting space is paradigm. Painting space paradigm has historic and geographic space-time nature.Chinese painting is“imagery”space paradigm. It pursues the disposition and artistic conception of subject of life. It has the paradigm characteristics such as“off-screen space”“perceptual unitary space”and“dynamic state space”. However the Western painting is the space paradigm of“percepts”; it takes the subject-object dual’s intellectual reflect as the tendency. It has the paradigm characteristics such as“paintings inside the space”,“rational binary space”and“static space”. Chinese painting‘s imagery space paradigm has 3 types of historic forms. They are traditional painting concrete paradigm with the traits of percepts and contemporary painting‘s multiple space paradigm of percepts.Last but not least, the author takes the Chinese and Western painting’s comparation and research paradigm as the foundation, using the new view and standard which is comparing Chinese to the Western’s unique space“paradigm”to reflect on“what is Chinese painting”——the long term argument. The author rise up the idea tentatively that the fact of Chinese painting is about its“imagery”way of thinking and value-seeking rather than focus on its forms of expression or tools. Chinese painting and Western painting’s common way is that to inherit and carry forward the aesthetic tendency and also mirrored and joined the method of multiplex under the Western perceived appearance in the level of representation of space. So that we could improve Chinese painting‘s paradigm creation and we could implement the double breakthrough.