Chinese And Western Painting And The Reality On The Performance And Aesthetic Pursuit

The relationship between reality and unreality in traditional Chinese culture remains one of the vital basements among various unities of opposites. This viewpoint originated from traditional philosophy, as this unity of opposite has been in traditional culture for such a long time and maintained its consistency. The aesthetic art underlines the coexistence of reality and unreality, as we know many times ingenious conceptions always exist in unreality and convey the true understanding deep in the heart. This artistic technique has been mastered in traditional paintings many centuries ago; we can trace its orientation to the cradle of this eastern civilian. Without reality and unreality, these paintings will lost their vitality, and these words do not exaggerate the importance and any unity of opposite can be generalized as the relationship between reality and unreality, for instance, the different density in the same picture, the elasticity to use the brush, the weight for the use of ink, the contrast between thickness and thinness, the different length of the lines, and other technique to describe a certain view. On the contrary, western paintings try to perform typical inner essences by specific, unique, and vivid images which format the foundation of paintings. Painters always strengthen and enlarge outer frames to pursue pure reality, ignoring unreality. Although they have realized the existence of perspective, a very important method later influences eastern paintings, they emphasized Realism so much that reality, of their favorite, had dominated the whole western paintings for a long time until recently.This paper focuses on the different forms of drawings to pursue beauty and an unique aesthetic expression, also the contrasts and interactions between reality and unreality. The two chapters, one is about reality and unreality in Chinese and the other one focuses on western paintings, remain the key of the whole paper, which interpret the outlines and essences of this new idea. All the analysis depends on the masterpieces both domestic and abroad to represent a widely range of arts. In the chapter of foreign paintings, the western reality and unreality is explained and analyzed through three main contrasts, including strong and weak relationships in sketches, background to set off main bodies, bright and grey colors in visionary effects, according to the masterpieces belong to Rembrandt, Da Vinci, Lubensi, and the other masters of Arts. The chapter of Chinese paintings is divided into two parts, traditional and modern techniques to express ideals respectively, and the traditional techniques to express reality and unreality are explained in compositions and the ways to create works, such as the use of brushes and pigments including ink. The Chinese modern technique is the core of this chapter, mainly refers to works from Tang Yongli, Chen Zi and Li Yong, especially their unique methods of'destruction'and'water-borrowed'to express reality and unreality will be discussed. At last the interactions between Chinese and western paintings will be displayed according to the understanding of the author. Obviously, the western paintings have exerted great effect on brushwork and freehand drawings through the way to sketch and the use of colors, the lines in Chinese paintings also influence western world profoundly. This paper tries to explore different expressions in many works from ancient murals to modern abstract in order to provide resources to promote our paintings in this modern world, and to absorb nutrients all over the word to revive Chinese paintings to a new level.