Research Of Watercolor Painting And Aesthetic Differences Between Eastern And Western Culture

"The essence of painting is painting.It does not matter that there is no faction or faction between China and the West." This sentence stems from Mr.Lin Fengmian,a pioneer in the fusion of East and West art.Naturally it is understandable,but if it is used to summarize the centuries-old history of Chinese watercolor painting,it needs to be viewed dialectical.Watercolour is one of the western painting styles introduced into China by the West.It is itself the extension of Western painting rules.After being introduced to China,many artists have tried their best to practice and arduously explore and integrate into their own aesthetic concepts and painting theories,gradually forming a watercolor landscape with Chinese characteristics.In general,achievements are often accompanied by problems.In the development of Chinese watercolor paintings,there have been no accidents and certain limitations.For example,excessive pursuit of skills,ignorance of art,and the use of materials have led to the loss of the characteristics of watercolors.The lack of self-innovation and other regulations.The emergence of these problems is precisely due to the relative lag in the development of Chinese watercolor in the process of its own development,resulting in watercolor theory research failed to bring enough theoretical support for its painting practice.Therefore,it is necessary for us to analyze and sort out the methods of comparison between the East and the West in order to draw conclusions that are valuable for the development of the national watercolor.This article starts with the differences between the aesthetic consciousness of the East and the West,and tries to provide a sufficient theoretical basis for the creation of watercolor painting in China.The expression of aesthetic differences between the East and the West in the painting mainly manifests itself as follows: Western paintings mostly pursue objective real feelings and visual experiences.Oriental paintings mostly emphasize the inner spiritual experience and the sublimation of spiritual emotions.As a representative of oriental paintings,Chinese paintings(referred to below as Orientals refer specifically to China)value the innermost psyche and temperament.In the same way,the creation of Chinese watercolor paintings must also be rooted in their own soil to reflect the aesthetic ideas and cultural connotations of the nation.Just as Mr.Lin Fengmian emphasizes the fusion of things,his works are still able to maintain their own understanding and inheritance of their own culture,based on the Western aesthetic painting theory.Under the background of increasingly frequent cultural exchanges between eastern and western cultures and diversified ideological trends,contemporary Chinese watercolor paintings should not only draw lessons from their merits,but should also maintain their own cultural characteristics,establish a culture of self-confidence and create a watercolor painting with a national identity.The full text is divided into four parts.The first part is a brief overview of Chinese watercolor paintings.Through combing the veins of the development of Chinese watercolor paintings,the problems faced by the current development are found.This leads to the origin of the arguments in this paper.The second part is from the sociocultural background and aesthetics.The formation of the concept of the analysis of the reasons for the formation of the aesthetic differences between the East and the West;the third part,the specific performance of the aesthetic differences between the East and the West in the paintings,respectively,from the modeling method,the color concept and the construction of the aesthetic concept of the screen in-depth analysis of the analysis;The Importance of Studying Aesthetic Distinction Between Eastern and Western Culture and Its Importance to the Creation of Watercolor Paintings.It is helpful for us to better understand our own strengths by analyzing and analyzing the aesthetic differences between things and drawing on each other to promote the development of watercolor.In short,the continuous development and growth of Chinese watercolor paintings must inherit the achievements of the traditional art of the nation while absorbing outstanding theoretical achievements from outside the country,strengthen cultural confidence based on local culture and values,and construct a theoretical system of contemporary watercolor art.