Philosophical reflection and artistic practice: A comparative study of the underlying ideological and technical differences in Chinese and Western painting.

Abstract

Beneath the surface-level stylistic differences between Chinese and Western painting
lies a profound divergence in philosophical concepts and artistic pursuits. This paper
systematically analyzes the contrasting attitudes manifested in Chinese and Western
approaches to “nature”: Western tradition, since the Greco-Roman era, has pursued the
realistic representation of nature, striving to approximate the “ideal beauty” through imitation
and idealized enhancement of the objective world. In contrast, Chinese painting, deeply rooted
in Confucianism, Daoism, and Buddhism, places greater emphasis on the creation of subjective
artistic conception and the transcendence of the material world, advocating the principle that
“one should learn from nature externally while drawing inspiration internally,” and seeking to
express the artist’s inner realization through the charm of brush and ink. By conducting an indepth
comparison of the artistic spirits of “realism” and “expressive freehand brushwork,”
this paper identifies the fundamental differences between Chinese and Western painting in
terms of artistic objectives, aesthetic evaluation criteria, and historical trajectories. These
distinctions not only reflect the profound divergence in philosophical thought and aesthetic
taste between East and West, but also offer deeper insight into the cultural and conceptual
differences underlying their artistic traditions. It is hoped that this study will enrich the
theoretical depth of comparative art history and provide new perspectives for cross-cultural
aesthetic dialogue in the context of contemporary globalization.