First, the media and materials are different.
Chinese painting is a kind of painting created by China's unique pen, ink and pigment according to its long-term expression and artistic law. Chinese painting can be subdivided into ink painting, heavy color, light crimson, meticulous painting, freehand brushwork and line drawing according to its materials and expression methods. According to their themes, there are figure paintings, landscape paintings and flower-and-bird paintings. There are many forms of Chinese painting, such as long scrolls, horizontal curtains, banners, nave, book pages, folding fans and fan paintings. Chinese painting reflects the social consciousness and aesthetic taste of the Chinese nation in ideological content and artistic creation, and embodies China people's understanding of nature, society and politics, philosophy, religion, morality, literature and art related to it.
Oil painting with flaxseed oil is opaque, so it can be covered layer by layer from deep to shallow, which can make the painting pile up into a three-dimensional color layer like bas-relief, and can also create a rich effect of covering and dyeing layer by layer with transparent colors, which can cause brilliant high points of visual concentration and has three-dimensional space and three-dimensional sense. Painting on the treated cloth or board will not change color after drying, and will not become dirty when mixed with multiple colors. Artists can draw rich and vivid colors. Oil painting is suitable for creating large-scale and epic masterpieces, so it has become the main way of painting in the history of western painting. /kloc-In the late 20th century, due to the development of science and technology, many new materials were applied in the field of oil painting, such as acrylic pigments and coatings.
Secondly, lines and colors are different.
Chinese painting is basically composed of lines, ink balls and fine ink dots, while ink balls and ink dots are only the expansion and contraction of lines, which pay attention to bone strength. The tip, abdomen and roots of traditional Chinese painting will produce lines with different tastes. There are also pen movements such as center, flank, lying front, back front, dragging front and hiding front. Its use of lines is vividly reflected. The "eighteen strokes" and "fourteen strokes" richly reflect the laws of density, light and shade, dryness and wetness of lines and ink paintings, and embody a musicality, abstraction, emotionality and emotionality, as well as the sense of movement and rhythm brought by the painter's slow, continuous, flat and soft pen. So Chinese painting can also be said to be the art of lines. Its formal beauty is the musical beauty produced by the interweaving of lines and rhythms. The color of traditional Chinese painting is also abstract. It does not imitate the color of specific objects, but deliberately constructs the tone of color. The "five colors of ink" in Chinese painting means that the charm of ink can cause rich color illusion and produce flickering colors. It may have a loud and bright effect, with simple hue and saturated chromaticity; Or weaken the chroma, narrow the hue difference, and create a quiet and meaningful effect.
Oil painting is dominated by light and dark tones. Oil painting vividly depicts the delicate color changes of human skin by using the layering of light, shadow and color, and makes people feel the blood flowing under the skin. Objects in darkness or shadows have a stable and profound sense of volume and space, which increases the saturation of the color of the picture. Oil painting is characterized by the rhythm of light and shadow, pursuing realism, three-dimensional, rhythm and light and shadow. The pursuit of light and shadow rhythm first leads to the understanding of material structure, and lines serve dignity. The concretization of light is color, and color is not only the most important means of modeling, but also the most important means of expression. For example, Impressionists and their successors used colors creatively. After careful observation, analysis and understanding of natural colors, they have gained a clear and strong feeling of objective image colors and an overall understanding of color tones, and at the same time they are required to actively express colors and emphasize color imagination. They pay attention to the spiritual effects of light, shadow and color, and notice some hints of color to people's hearts. When they observe nature, they think about the relationship between "light" and "color" in nature, and they are intoxicated by the strong changes of light and color and the sense of air.
Third, perspective and realism are different.
The spatial processing method in traditional Chinese painting is scattered perspective, that is, the composition of the picture is not limited by time and space, but combined with time and space. The spatial characteristics of China's landscape paintings are closer to the transformation of time and space, and he is good at grasping the mystery of life movement. The "three-distance method" put forward by Guo in Song Dynasty can give painters a broad business orientation. The painter can use the three-distance method to arrange the images in the painting in a comprehensive and staggered way. In a long scroll, it can make the scenery ups and downs, hidden, open and close, and combine scattered perspective with artistic expression effect. Scattered perspective makes Chinese painting see infinity from finiteness, and then return to finiteness from finiteness, thus having a clear rhythm and bringing a sense of musical rhythm and harmony to the whole picture. Generally speaking, Chinese painting tends to be expressive. Its connotation, metaphor and implication show that China's art attaches great importance to spirit and "meaning beyond the image". The meaning and feeling outside the image make the aesthetic object of art turn from the external world to the internal world, and the communication power of art turns from reproduction to expression. The central concept of Chinese painting is "vivid charm". "Qi" is the painter's inner passion and impulse. "Rhyme" is a kind of charm and interest expressed by "Qi" in the picture.
Focus perspective, like a camera, shows the distance through clear focus and out-of-focus blur. Based on the principle of physics, the same space is represented by a fixed viewpoint. This perspective only has a fixed viewpoint, visual direction and visual field, and painting and framing are limited to the visual field determined by this viewpoint and visual direction. Oil painting sees infinity with limitation, which is gone forever. /kloc-at the end of 0/9th century, western modernist painters attacked the traditional western focus perspective, but they could not deny the deep-rooted tradition of the western focus perspective and its essence in modernism. For example, the photographic realism of western modernism can still see the perfect embodiment of traditional focus perspective in images. The aesthetic taste of western art lies in truth and beauty, and it pursues the truth of objects and environment very much. In order to achieve realistic artistic effects, we attach great importance to scientific principles such as proportion, light and shade, perspective, anatomy, chromaticity and color, and take optics, geometry, anatomy and chromatics as scientific basis.
Fourth, the difference between poetry and painting.
Chinese painting, poetry, calligraphy, painting and printing are organically combined to create a complete artistic image. Chinese painting can have inscriptions, mainly based on the abstract surreal formal structure of Chinese painting lines, similar to calligraphy and seals, which is very harmonious in the picture. The flexible spatial form of traditional Chinese painting can contain inscriptions and postscript, so that the calligraphy of inscriptions and postscript can become a part of painting organically, and the rhythm of composition, line and ink of the picture can be louder, richer and more substantial, and poetry and painting can be integrated in internal form. The combination of poetry and painting, first of all, is the harmony of artistic conception, that is, the feelings in the chest are sent out at the same time as poetry and painting, and naturally blend in form and complement each other. In the limited image of the picture, there is infinite invisible affection.
At the beginning of western modern aesthetics, Lessing put forward the theory of "the boundary between poetry and painting" in laocoon, pointing out that painting is to depict objects juxtaposed in space with lines and colors, so painting is not suitable for dealing with the movement, change and plot of things. Poetry describes the continuous action through language and sound, so poetry is not suitable for describing static objects completely and truly. The two characteristics of western drama and painting make western painting have the aesthetic characteristics of integrating drama into painting. From ancient Greece and Rome to the Renaissance, there was drama in painting, and it is a common phenomenon in art to take dramatic plots and actions as the internal framework of the picture.
Fifth, painters have different hands.
Chinese painting painters are mostly "amateurs", while officials, literati and literati take painting as their pastime. "Professionals" are often painters, and most of their works stay in temples. Chinese painting pays attention to "doing it in one go", so most of the works are done at one time. Oil painters are generally very professional, and only after long-term and strict training in manual workshops can they learn painting techniques. Oil painting must be revised many times to get the effect.
Finally, the aesthetic orientation is different.
China's classical philosophical thought "the unity of man and nature" shows that man moves from aesthetics to interpersonal relationship and returns to life. Painting takes both spirit and flesh into consideration, and emotion and reason blend. It is balanced by the golden mean, coexists with nature, and attaches importance to this existence. The ancient painters in China mostly viewed the social function of painting with Confucianism, while the aesthetic aspect was guided by the thoughts of Taoism and Buddhism, and they understood nature with the world view of Taoism and Buddhism. The aesthetic psychology of Chinese painting requires that what is depicted directly appeals to people's senses, to people's emotions and imagination, that is, "harmony between man and nature".
The western classical philosophical thought "the unity of heaven and man" shows that people move from aesthetics to religion and convert to God. Painting respects the soul, despises the body, and hopes to atone for God for the afterlife.
Different nationalities must have their specific historical evolution, national main character, psychological quality, cultural background, customs, artistic concepts and ideals, and so on. If China's art is elegant, then the west is elegant; China's paintings emphasize expression and emotion, while western paintings emphasize reproduction and rationality. China's painting takes lines as the main modeling means, while western painting mainly uses light and color to express objects; China's paintings are not limited by space and time, while western paintings strictly abide by the boundaries between space and time. This sharp difference has become two systems in the world art field.