The influence of western Marxist aesthetic theory on the creation of Chinese painting獲獎科研報告

TheinfluenceofwesternMarxistaesthetictheoryonthecreationofChinesepainting獲獎科研報告Abstract：WesternMarxistaesthetictheoriespayattentiontothedescriptionofobjectiveentitiesandadvocatethereproductionandimitationofnaturewithascientificattitude.However，inChinesetraditionalaesthetictheories，theartisticconceptionisputfirst，andtheharmonybetweenmanandnatureandtheblendingofscenesareadvocated，insteadoftakingthedescriptionofsimilarityasthesolepurpose，thelikenessasthemainone.TherebycreatingauniqueChinesepaintingsystem.Today，withtherapiddevelopmentofcommoditysociety，thecreationofChinesepaintingisdifficult.IntheroadofinnovationofChinesepainting，manypeoplehavelosttheirwayandforgottentheirinitialintentions.StudyingwesternMarxistaesthetictheoryisofgreatsignificancetothecreationofChinesepainting，whichmayhaveunexpectedeffectsinthecreationofChinesepainting.ThispaperexpoundsthepresentsituationofChinesepaintingcreationandtheinfluenceofwesternMarxistaesthetictheoryonChinesepainting.

Keywords：WesternMarxism，Aesthetictheory，Create

Westernpaintingart，onthewhole，tendstobeintheopticalsense，andismorefullofgeometricspiritandrationalthinking.However，theuseofcolorinthecreationofChinesepaintinghasneverbeen"naturalistic".Accordingtotheneedsofthetheme，Chinesepaintersareequippedwithcolorsthatincreasetheirappeal.Theydaretobreakthroughtheinherentcolorsof"naturalobjects"andreplacethemwithcolorsbrewedinfeelings.Chineseandwesternpaintingsareobviouslydifferentincolorapplicationandfeeling.Chinesetraditionalpaintingusesinktomixcolors，ratherthanthethree-dimensionalandlight-darkperspectivewithwesternpainting.Chinesepaintingistoseekvisualeffectsinmanygroupsofcontradictions，suchasthickandthinink，deepandshallowink，lightandthickink.InancientChinesepaintingtheory，inkhasfivecolors：intense，heavy，lightandclear;Inkisdividedintosixcolors：black，white，dry，wet，thickandlight.Theeffectofinkpaintingonpsychologicalportrayalandemotionalcatharsis;Chinesescholarsinpursueindifferentandquietattitudetowardslifeandaestheticneeds.SincetheTangDynasty，greatpaintersofallageshavebeenmastersofinkpainting，andhistoriansofallageshavepraisedinkpaintingassuperior.Thisso-called"carryinginkwithfivecolors"and"washingawaylead"hasformedagorgeousChinesepaintingsystemfrompureink.

Atpresent，theradicalerahaspassed，andmorecontemporarypaintersarequietlytryingandexploringwiththeattitudeofreturning，continuingtheexplorationwayof"traditionandlife"inordertoseekanewbreakthroughinChineseart.However，theold-fashionedandimitativephenomenaarealsoemergingoneafteranother，whichhinderstheprogressofChinesepaintingcreationtoagreat.

WesternMarxistaesthetictheoryisofgreatsignificanceinthecreationofChinesepainting.Firstofall，WesternMarxistaesthetictheoryhasformedideologicalguidanceforChinesepaintingcreation.Lukacs'realisticaesthetictheoryisofgreatguidingsignificancetotherealisminChinesepaintingcreation;TheromanticaesthetictheoryofFrankfurtSchoolgivesChinesepaintingcreatorsunlimitedthinking;Sartre'sexistentialaesthetictheoryandtheliteraryandaesthetictheoriesofWilliams，Eagleton，Jameson，etc.areofgreatsignificancetothecreationofChinesepainting.

Secondly，thewesternMarxistaesthetictheoryhasalwaysbeenamodelforChinaandeventheworldtolearninmoderntimes，whichiseitheramodeloragoodone，butitcanbeusedasaforwarddirectiontoexploreandguidethecreationofChinesepainting.Scientificunderstandingoftheexistenceofrealityandnothingnessandscientificreflectionofthelivingconditionsofpeopleatthebottomoratthetoparenobleartisticcreationpractices.Practiceisbeauty.Toagreatextent，thisemphasizesthebeautyoftheworkingpeople，whichisakindofpraise，akindofloveandaprocessofpsychologicalexpression.

Thirdly，thewesternMarxistaesthetictheorypointsoutthedirectionforthecreationofChinesepainting.Whetherrealisticoranti-realistic，realorillusory，wecanfullyunderstandandassociatefromMarxistaesthetictheory.Infact，thisprocessisalsoaprocessofcreatingandconceivingChinesepainting.Whenourbrushfallsonpaper，thisnobleexpressionmaybecomeanewartform.

Isthecombinationofthecharacter，self-cultivation，culturalprecipitationandwesternMarxistaestheticsanotherdirection？ThecreationofChinesepaintingisfree，butfreedomdoesnotmeanfoolingaround.IntheprocessofcreatingChinesepainting，wemustfirsthavesomeknowledgeortraditionalprecipitation.Whenourprecipitationreachesasolidifiedstate，itwillbeignitedbythewesternMarxistaesthetictheory，whichisundoubtedlyagreatpotentialpowerofcreation，anditsguidingsignificancewillplayanimmeasurableroleinthepresentandfuture.ThecollisionbetweenChineseandWesterncultures，takingitsessenceanddiscardingitsdross，makesthecreationdeeperandhasafar-reachinginfluenceonlatergenerations.

References：

Da-WeiLI.AnalysisoftheConnotationofMinorityHistoricalNovels