下面为大家整理一篇优秀的paper代写范文- Comparison of color between Chinese and western painting，供大家参考学习，这篇论文讨论了中西绘画色彩比较。色彩是视觉艺术中最感情化的因素，与人类文化情感有着甚为复杂、微妙的联系。因此，中西不同地域、民族的综合文化背景下的色彩语言有着极大的差异。西方绘画色彩语言总体特点是偏重感性，突出质感，再现视觉经验的。而中国传统绘画的核心主线是主客观和谐统一，将个体、自然、宇宙融为一体的艺术观。
Color is the most emotional factor in the visual arts, "direct writing" The main mind, and can attract the eye of the viewer in an instant, causing emotional resonance. Color is not only the optical phenomenon in the sense of physics, but also has rich cultural metaphor, which has complicated and subtle relation with human cultural emotion. Therefore, the language of color in the comprehensive culture background of different regions and nationalities of China and the West has great difference.
The general features of Western painting color language are emphasizing sensibility, highlighting texture and reproducing visual experience. Ancient Greek art with "number" to understand the world, the focus on the shape of more than color, so this period of color aesthetic is to constitute the world's natural matter of the primary colors to understand. Ancient Rome continued the system. The spiritual connotation of color in the medieval religious life has been greatly enriched, the Byzantine Christian church to promote religious ideas mosaic, clear image, colorful, rich decorative composition. It is the pursuit goal of the Renaissance painting art to explore human nature and inject the real sense into the characters and surroundings. Florence and Venetian Painters combine the perspective of rational science, anatomy and perceptual light color sense to create the color harmony of the picture, thus forming the basic system of the western classical painting color language. In the 300 years from 15th century to 18th century, although many talented artists have created different methods of expression, they have enriched the image of painting and the style of color technique, but have not divorced from this reappearance tradition. Until the birth of the 19th century impressionism, the color of the scientific theory into painting, revolutionary "light", only to break through the system, the liberation of the inherent colors, the sun and air to the world, thus becoming the 19th century art into the 20th century art of a symbol, and thus promote the subsequent development of modern art.
http://www.51due.net/writing/research-paper/sample32109.html
The core line of Chinese Traditional painting is: subjective and objective harmonious unity, the individual, nature, society, the universe into one art concept. In the view of Chinese philosophers, the principle of "and" in the natural world applies not only to the "great universe", but also to the "small universe" of art. Similarly, the Chinese traditional culture that the color itself is an important member of the universe, there is no need to "wronged" as an intermediary to imitate, symbolize his objects. Therefore, the painter's use of color is not necessarily to imitate or reproduce his objects, but to integrate the elements of the screen, and strive to form the "Great Universe" and "the same picture aesthetic characteristics."
The color of Chinese ink is produced, in the "Six law" in the "with the class color" of the painting principle, ink painting family just pure five colors-green, red, yellow, white, black, as a visual foothold, on this basis macroscopic observation, through the hue of the table, kneading and hue of the quality. Thus, from the "color of the eye" to "the Color of the heart" to "the color of the screen" change. The "Bamboo in the chest", which is produced by the painters, is the macroscopic observation of the objective things, the "hing feeling" after the capture of the quality, and the comprehensive imagery formed by his cultural background and the classical works of his predecessors.
Understanding is a magical force that can completely influence the visual perception of our external objects. "Color is the mother of Light". When it comes to color, we will associate it with the light, Westerners pay attention to the "external light" characteristics of the image, while the Chinese people are concerned about the whole of the internal nature of the images. A deep-rooted concept has led the Chinese to reject the sensitivity of light: The shadow of light that shines on an object is a fleeting coincidence, a meaningless thing. They believe that only the core of things is buried in the "spiritual temperament", and this "spirituality" from the subjective feelings of the "mind" of the light to appear. Painting is sometimes much closer to our innermost understanding than our visual nerves. Song Dynasty Guo "early spring", with a calm and clear lines outline the edge of the mountain and trees, and the upper part of the picture is much heavier than the lower part of the body, feeling like a light from the inside out. This is a growth in the information of the early spring, all things show a vitality, in the picture "S"-shaped dynamic line construction, it happens to contain infinite wealth of life hope. The Philosophy of heaven and earth seems to lurk between this landscape. Yin and Yang Five elements of the nature of the universe summed up as five basic element, so the ancient Chinese people believe that the outside world naturally and their own body similar structure, spiritual connection, so you can use consciousness and understanding to draw those living with spiritual creation. Simple Chinese painting inside, contains a very deep humanistic experience, is the artist's spiritual core and the combination of natural spirituality, so "ink" is not just "ink".
When the function of color goes beyond the basic vision and rises to the inner grasp of the universe's meaning of life, it ties up human beings closely with nature. Sheikh six law "with the type of color" of "class" is not the natural color of the same things in Western painting, and the surface color of a single thing, but the Chinese culture is unique to the grasp of the nature of things classified and integrated picture artistic conception of color harmony. The "ink-colored five colors" of Chinese painting is a powerful embodiment of this point.
And the Western direct imitation to reproduce the natural color, the spirit and the subjectivity of the human finally boils down to a very decent "works" on the difference is that Chinese ink color highlights the cultural features of the function, it is the overall significance of the universe in the dynamic harmony principle, pay attention to the unique feelings of the subject: imagination, inspiration, feeling, fantasy ... Natural nature, into the work of the Creator. It is far more important to create an aesthetic conception of the individual soul experience and the external cosmic perception than to complete a complete picture. The viewer maintains a flexible and free relationship with the picture through a highly flexible "poetic" language, which is seemingly ambiguous, uncertain and indeterminate. In this kind of aloof aesthetic realm, the brain enjoys full freedom of activity range, can and not be clearly described in the painting of the natural things to interact, make up the picture without the open mood.
The color language of Chinese painting is not used as a tool of expression as in the West, because any specific and clear stylized color relationship can only be a concrete representation of things, but not the infinite boundless universe. Therefore, the "five colors" in Chinese culture can not be understood as five kinds of specific symbols, it is the Universe "infinite" color carrier. From this point of view we can understand why the Chinese painting from the Sheng Tang period of the "magnificent" gradually turned to "ink-colored" for "top grade". This kind of Chinese color language exists in the classics of the past dynasties but cannot have a rational program to record it. Therefore, the painting theory in the past dynasties when talking about painting color, very little and clear and orderly color observation, performance explanation, more is the elaboration color technique.
Chinese classical painting unique color observation, understanding and use, on the one hand constitute a unique artistic characteristics, the establishment of a unique image style norms and techniques, which is the pride of our nation. But at the same time we should also see the limitations of this single color painting language: Compared with the Western scientific system, such as perspective, light color system and other modelling language, obviously lacks the governing force of the richness of the objective world. It can not meet the aesthetic needs of modern people. Therefore, we should clarify and new ideas and ways to explore all kinds of possibilities and try various solutions, for the use of Chinese painting color of the future development to find direction.
The art of any category cannot and cannot be absolute "purebred", and it will always be affected by this or that, and it is necessary in its long-term development. Especially in today's open and pluralistic development of the era, based on the excellent cultural traditions of the nation, absorbing the outstanding cultural achievements of other peoples of the world, to achieve the cultural rejuvenation and expansion of the nation, which is a long tradition of thousands of years of cultural heritage and development of the major responsibility.
Look at the artists who have grown up in the Chinese painting circles since 20th century and have tried and tried. Just as the Western Renaissance painting was the reincarnation of some of ancient Greek modelling concepts and feelings, as well as the neo-classicism formed by the return of classical style in the late 18th century, the Chinese may come to a similar "not simple" reincarnation at some point in the future, the closeness of "resplendent" and the return of multiple color, After all, Chinese painting color has also been cited as proud of the glorious classics, after all, we also have a unique concept of the Chinese nation.
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Color is the most emotional factor in the visual arts, "direct writing" The main mind, and can attract the eye of the viewer in an instant, causing emotional resonance. Color is not only the optical phenomenon in the sense of physics, but also has rich cultural metaphor, which has complicated and subtle relation with human cultural emotion. Therefore, the language of color in the comprehensive culture background of different regions and nationalities of China and the West has great difference.
The general features of Western painting color language are emphasizing sensibility, highlighting texture and reproducing visual experience. Ancient Greek art with "number" to understand the world, the focus on the shape of more than color, so this period of color aesthetic is to constitute the world's natural matter of the primary colors to understand. Ancient Rome continued the system. The spiritual connotation of color in the medieval religious life has been greatly enriched, the Byzantine Christian church to promote religious ideas mosaic, clear image, colorful, rich decorative composition. It is the pursuit goal of the Renaissance painting art to explore human nature and inject the real sense into the characters and surroundings. Florence and Venetian Painters combine the perspective of rational science, anatomy and perceptual light color sense to create the color harmony of the picture, thus forming the basic system of the western classical painting color language. In the 300 years from 15th century to 18th century, although many talented artists have created different methods of expression, they have enriched the image of painting and the style of color technique, but have not divorced from this reappearance tradition. Until the birth of the 19th century impressionism, the color of the scientific theory into painting, revolutionary "light", only to break through the system, the liberation of the inherent colors, the sun and air to the world, thus becoming the 19th century art into the 20th century art of a symbol, and thus promote the subsequent development of modern art.
http://www.51due.net/writing/research-paper/sample32109.html
The core line of Chinese Traditional painting is: subjective and objective harmonious unity, the individual, nature, society, the universe into one art concept. In the view of Chinese philosophers, the principle of "and" in the natural world applies not only to the "great universe", but also to the "small universe" of art. Similarly, the Chinese traditional culture that the color itself is an important member of the universe, there is no need to "wronged" as an intermediary to imitate, symbolize his objects. Therefore, the painter's use of color is not necessarily to imitate or reproduce his objects, but to integrate the elements of the screen, and strive to form the "Great Universe" and "the same picture aesthetic characteristics."
The color of Chinese ink is produced, in the "Six law" in the "with the class color" of the painting principle, ink painting family just pure five colors-green, red, yellow, white, black, as a visual foothold, on this basis macroscopic observation, through the hue of the table, kneading and hue of the quality. Thus, from the "color of the eye" to "the Color of the heart" to "the color of the screen" change. The "Bamboo in the chest", which is produced by the painters, is the macroscopic observation of the objective things, the "hing feeling" after the capture of the quality, and the comprehensive imagery formed by his cultural background and the classical works of his predecessors.
Understanding is a magical force that can completely influence the visual perception of our external objects. "Color is the mother of Light". When it comes to color, we will associate it with the light, Westerners pay attention to the "external light" characteristics of the image, while the Chinese people are concerned about the whole of the internal nature of the images. A deep-rooted concept has led the Chinese to reject the sensitivity of light: The shadow of light that shines on an object is a fleeting coincidence, a meaningless thing. They believe that only the core of things is buried in the "spiritual temperament", and this "spirituality" from the subjective feelings of the "mind" of the light to appear. Painting is sometimes much closer to our innermost understanding than our visual nerves. Song Dynasty Guo "early spring", with a calm and clear lines outline the edge of the mountain and trees, and the upper part of the picture is much heavier than the lower part of the body, feeling like a light from the inside out. This is a growth in the information of the early spring, all things show a vitality, in the picture "S"-shaped dynamic line construction, it happens to contain infinite wealth of life hope. The Philosophy of heaven and earth seems to lurk between this landscape. Yin and Yang Five elements of the nature of the universe summed up as five basic element, so the ancient Chinese people believe that the outside world naturally and their own body similar structure, spiritual connection, so you can use consciousness and understanding to draw those living with spiritual creation. Simple Chinese painting inside, contains a very deep humanistic experience, is the artist's spiritual core and the combination of natural spirituality, so "ink" is not just "ink".
When the function of color goes beyond the basic vision and rises to the inner grasp of the universe's meaning of life, it ties up human beings closely with nature. Sheikh six law "with the type of color" of "class" is not the natural color of the same things in Western painting, and the surface color of a single thing, but the Chinese culture is unique to the grasp of the nature of things classified and integrated picture artistic conception of color harmony. The "ink-colored five colors" of Chinese painting is a powerful embodiment of this point.
And the Western direct imitation to reproduce the natural color, the spirit and the subjectivity of the human finally boils down to a very decent "works" on the difference is that Chinese ink color highlights the cultural features of the function, it is the overall significance of the universe in the dynamic harmony principle, pay attention to the unique feelings of the subject: imagination, inspiration, feeling, fantasy ... Natural nature, into the work of the Creator. It is far more important to create an aesthetic conception of the individual soul experience and the external cosmic perception than to complete a complete picture. The viewer maintains a flexible and free relationship with the picture through a highly flexible "poetic" language, which is seemingly ambiguous, uncertain and indeterminate. In this kind of aloof aesthetic realm, the brain enjoys full freedom of activity range, can and not be clearly described in the painting of the natural things to interact, make up the picture without the open mood.
The color language of Chinese painting is not used as a tool of expression as in the West, because any specific and clear stylized color relationship can only be a concrete representation of things, but not the infinite boundless universe. Therefore, the "five colors" in Chinese culture can not be understood as five kinds of specific symbols, it is the Universe "infinite" color carrier. From this point of view we can understand why the Chinese painting from the Sheng Tang period of the "magnificent" gradually turned to "ink-colored" for "top grade". This kind of Chinese color language exists in the classics of the past dynasties but cannot have a rational program to record it. Therefore, the painting theory in the past dynasties when talking about painting color, very little and clear and orderly color observation, performance explanation, more is the elaboration color technique.
Chinese classical painting unique color observation, understanding and use, on the one hand constitute a unique artistic characteristics, the establishment of a unique image style norms and techniques, which is the pride of our nation. But at the same time we should also see the limitations of this single color painting language: Compared with the Western scientific system, such as perspective, light color system and other modelling language, obviously lacks the governing force of the richness of the objective world. It can not meet the aesthetic needs of modern people. Therefore, we should clarify and new ideas and ways to explore all kinds of possibilities and try various solutions, for the use of Chinese painting color of the future development to find direction.
The art of any category cannot and cannot be absolute "purebred", and it will always be affected by this or that, and it is necessary in its long-term development. Especially in today's open and pluralistic development of the era, based on the excellent cultural traditions of the nation, absorbing the outstanding cultural achievements of other peoples of the world, to achieve the cultural rejuvenation and expansion of the nation, which is a long tradition of thousands of years of cultural heritage and development of the major responsibility.
Look at the artists who have grown up in the Chinese painting circles since 20th century and have tried and tried. Just as the Western Renaissance painting was the reincarnation of some of ancient Greek modelling concepts and feelings, as well as the neo-classicism formed by the return of classical style in the late 18th century, the Chinese may come to a similar "not simple" reincarnation at some point in the future, the closeness of "resplendent" and the return of multiple color, After all, Chinese painting color has also been cited as proud of the glorious classics, after all, we also have a unique concept of the Chinese nation.
想要了解更多英国留学资讯或者需要论文代写，请关注51Due英国论文代写平台，51Due是一家专业的论文代写机构，专业辅导海外留学生的英文论文写作，主要业务有essay代写、paper代写、assignment代写。在这里，51Due致力于为留学生朋友提供高效优质的留学教育辅导服务，为广大留学生提升写作水平，帮助他们达成学业目标。如果您有代写需求，可以咨询我们的客服QQ：800020041。
51Due网站原创范文除特殊说明外一切图文著作权归51Due所有；未经51Due官方授权谢绝任何用途转载或刊发于媒体。如发生侵犯著作权现象，51Due保留一切法律追诉权。
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