The Fusion Of Chinese And Western Culture In Chinese Freehand Paintings And Chinese Oil Paintings

Western paintings draw the for m, which pursue the reproduction of “reality”. A well known saying from DaVinci is “Raise a m irror in front of the nature”, which reflects this pursuit. However, they still pay atte ntion to express the feelings from inner heart an d the ideas of philosophy. From Barbizon school-such as Post-Impressionism, Fauvism, Cubism and Surrealism-to some Postmodernism schools, they all share the feature of “expression”. But, this is dif ferent from Chinese freehand pa intings. Chinese paintings draw the s pirit, which pursue the sim ilarity of “essence”. T raditional Chinese pain ting and western painting reflect two different aesthetic standards from different cultural backgrounds. The different theories between Chines e paintings and W estern paintings are resu lted from different cultural backgrounds and aesthetic st andards. Based on the dif ferent aesthetic standards, this paper analyzed their characteristics and the influence of Chinese traditional paintings to modern oil paintings. In the very beginning of this paper, the author introduced art theories of Western Modernism. Since th e basic theories of Western Modernism are totally free from the features of Chinese freehand paintings from beginning to end, so this paper summarizes this theory systematically. The feature of “draw the spirit” from Chinese oil painting is caused by the theories of Chinese traditional paintings.The core of theories of Western Modernism is digging its aesth etic standards and artists’ feelings inner heart. However, Chinese freehand paintings are full of the colors of philosophy and beliefs.It is a huge system for the knowledge about the m ental activities and real actions motivated by artistic demands emerged in modern and contemporary times in western world. This paper only f ocuses on the thoughts that closely related to art and states above issues from three aspects. 1. Philosophical theories from Schopenhauer and Nietzsche; 2. Psychoanalytic theories from Jung and Freud; 3. V iewpoints from art theorists. By analyzing and com paring the dif ferences of theoretical foundations and characteristics between traditional Chinese and western paintin gs and studying the relationsh ip between traditional Chinese painting and modern Chinese painting, this paper aims at finding a new way for the development of nationalization of Chinese painting and clarifying the influence from traditional Chines e aesthetic standards and philosophy ideas, which are deeply ingrained in Chinese culture, to Chinese modern painting.This paper studies the fusion of Chinese and western culture in Chin ese freehand brushworks and Chinese m odern paintings, wh ich including four part s.1.The theories of western modernism. In order to find out so me essential power to promote art campaign, they combined philosophy, psychology and artistic thoughts developed from art campaigns in modern and contem porary times in wester n world. Besides, the paper analyzed the differences from Chinese freehand paintings.2. The establishment of modernism, namely late impressionism. The author briefly analyz ed the p ainting theoretical basis and form characteristics of works from Cezanne, Van Gogh and Gauguin, who are all the typical artists of modern paintings. The author also probed the origins and essences of the Nabject and Symbolism and summarized the basic charact eristics of various modern art schools in western world.3. The same origin of Chinese freehand brushwork and Chinese calligraphy. This part also involves the beauty in form of point-line-surface as well as the development and characteristics of Chinese brushwork. 4. The relationship betw een Chinese modern painting and traditional painting. Besides, th e author showed the developm ent path of Chinese modern painting from the beginning to being nationalized. This paper also points out the influence from Chinese traditional painting to modern painting. Considering the political and economic background, this paper tries to explore the possible development trend of modern Chinese painting.It is important to note that the nationa lization of Chinese modern oil painting, which is influenced by Chinese freehand painting and its theories, is just one of the characteristics of Chinese modern oil painting, rather than all of them. That is to say, in terms of the trend of development, nationalization is just one of the various directions.