Research On The Paradigm Of Chinese And Western Art Ideographic Symbols

The artistic ideographic paradigm is the fundamental way for humans to express their thoughts to the world.As a comparison group of Chinese and western artistic ideographic paradigms,Apsaras and Angels are particularly distinctive artistic images thus can represent the two paradigms respectively.Among them,Apsaras take image as core represents the traditional Chinese ideographic paradigm,and Angels take simulation as core represents the western classic ideographic paradigm.As a classical art symbol in Buddhist art,the image of Apsaras often appears in the paintings and sculptures of Buddhist art.Angels are also classics artistic image in Christian art.In Christian painting,they are usually arranged beside the Lord,Son and Holy Spirit.By comparing Apsaras and Angel in a religious context,we can find that they have similar responsibilities and abilities.While soaring of Apsaras in Chinese art are depicts through the shape of figures' bodies,robes as decorations and clouds as backgrounds,Western artists use a different way to delineate Angels' vitiation through the state of the wings' spreading and folding and figures' position in the picture.These distinctions reflect the different ideological paradigms of Chinese and Western arts,and the focus of research in this paper is the reason for these differences.This article takes the research of Apsaras and Angels as the starting point,and compares the artistic ideological paradigm in the field of Chinese and Western art aesthetics.In the course of research,this article choose some representative artistic symbols as theoretical support(Images and theories centered on image and simulation),conduct a diachronic combing and synchronic comparison of them,and strive to analyze the aesthetic spirit of Chinese and Western art from the dimensions of space and time.Finally,try to sort out the mutual integration and reconstruction of Chinese and Western art in the context of globalization.This article is divided into three parts.The first part is the introduction,which mainly states the research status,purpose and method of the topic.The second part is the text,including three chapters.The first chapter sorts out the development history of Apsaras and Angels,and their different aesthetic pursuits in art.The second chapter analyzes the reasons for these differences,There are three reasons.The first is that the theoretical forms of Chinese and Western art are different.The second is the different way of Chinese and Western arts.The third is the difference between Chinese and Western artistic ideology paradigms.The third chapter summarizes how traditional Chinese art represented by Apsaras draw on Western painting techniques,and how western classical art represented by Angels absorb Chinese art concepts under the influence of the above reasons.The last part is the conclusion,which mainly sorts out the research process of the subject and summarizes the research results.Both Apsaras and Angels have a long history,and their images have never stopped changing and innovating.This innovation is the understanding and expression of human beings,society and nature by civilizations of every age.Through this article,the author hopes to break through the limitations of religious art,analyze the spirit of Chinese and Western aesthetics,and understand the new aesthetic methods of contemporary art.