外文翻譯--東方和西方造型藝術(shù)之間的差異（原文）

1、103Vol. 4, No. 1January 2008 Asian Social Sciencewww.ccsenet.org/journal.htmlOn Differences between Eastern and Western Plastic ArtsLu XueCollege of Art and Appareluages, Tianjin Polytechnic University, Tianjin 300384,

2、ChinaE-mail: lianglu1125@126.com AbstractPlastic arts refer to the creation of visual static images with some substantial materials as well as methods, including architecture, sculpture, painting, industrial arts, desig

3、n, calligraphy and seal cutting and so on. Due to the differences between the eastern and western cultures, plastic arts also display different characteristics. To be more specific, different geographical environments an

4、d social and historical environments have led to different cultural foundations of the two. The Chinese culture emphasizes the kinship while the western culture puts more importance to individual equality; the Chinese cu

5、lture emphasizes ethical rules while the western culture the exploration into objective rules; the Chinese culture empha- sizes harmony while the western culture opposition, hence resulting in the differences in Chinese

6、and western value orientations. In addition, in the comparison between Chinese and western philosophy, the former seems to be macroscopic and comprehensive with its emphasis on the harmony between opposite sides and the

7、inner experiences while the latter tends to be more scientific due to its division between sensibility and reason, individuality and generality.Keywords: Plastic arts, Difference Analysis, Cultural foundation, Value orie

8、ntation, Difference in philosophyPlastic arts refer to the creation of visual static images with some substantial materials and methods, including architecture, sculpture, painting, industrial arts, design, calligraphy a

9、nd seal cutting and so on. They have displayed different trends and characteristics in the east and the west.Some well-known ideas on plastic arts in China are given as follows:During the Spring and Autumn and the Warrin

10、g States Periods, painting’s advantage in remaining images was mentioned in some ideologists’ works.A famous painter in East Jin Dynasty, Gu Kaizhi, emphasized the importance of “the convey of spirit”, changing the long-

11、 lasting traditional ideas to purely pursue similarities in shape. In this way, a new foundation is provided for us to understand the characteristics of painting arts.In Song Dynasty, the “expression of feelings” theory

12、came into existence, maintaining that paintings should be relied to express the painter’s feelings. According to this theory, similarities in shape would give way to expression of feelings although they shouldn’t be negl

13、ected totally.Wang Bo in Ming Dynasty gave a more profound and dialectic explanation about the similarities in shape, which is regarded to step further towards the characteristics of painting.It was revealed in Bai Juyi’

14、s description of Zhang Zao’s painting course that painters are good at combining their subjective experiences with the objective environment and then forming images in their minds. Accepting this theory, a contemporary p

15、ainter, Pan Tianshou maintains that although the images come form the objective world, they are different from the real ones due to the painters’ subjective experiences.Su Shi in Northern Song Dynasty proposed the theory

16、 of “to have a well-thought-out plan”, according to which painters are expected to form mature and complete images in their minds before reconstructing them on paper. This theory has been accepted by the following painte

17、rs as a basic principle. In Qing dynasty, Zheng Banqiao proposed another theory—“the bamboo outside mind” as a supplement for Su Shi’s. In addition, Zheng Banqiao also pointed out the differences among “the bamboo in min

18、d”, “the bamboo in eyes” and “the bamboo in hand”, hence giving a more vivid explanation for the painting course.Meantime, Wang Bo’s theory has been accepted by a lot of painters in modern China, such as Shi Tao, Qi Bais

19、hi and Huang Hongbin. According to Qi Baishi, the intermediate state between similarity and non-similarity is the excellent one because “paintings which are similar to something too much seem meretricious while ones whic

20、h are not seem deceptive”. Huang Hongbin maintains that real similarities should come from those with some changes.And the following are some famous theories on plastic arts in the west:Duing Revival of Learning, Italian

21、 painter Leonardo Da Vinci thought that painting, as a science branch, begins with points,105Asian Social Scienceappear in 14th to 15th century.Second, it had a social structure based on feudal manor economy, connected b

22、y laws and centered on thearchy. The traditional western social structure was based on its agricultural civilization and the industrial and commercial one. With manor economy as its base, the feudal hierarchical system w

23、as formed with the relationship between landlords and homagers according to their contracts and therefore the divided administrative and judicial authority.(2)A Comparison in Value OrientationThe differences between east

24、ern and western value orientations are mainly shown in the following aspects:Kinship in Chinese culture the world should be divided into the subjective one and the objective one; the society should be divided into man a

25、nd God and so on. Due to their emphasis on differences among things, quantitative analysis is widely used to give definite limitations to concepts and categories, hence resulting in clear knowledge. In this way, the prec

26、ise scientific approach established in the western philosophy has laid the ground work for the scientific development of western arts.ReferencesLiu, Wanming. (2001). Chinese Painting Theories. Tianjin Ancient Books Publi

27、shing House. (269).Wang, Liu. (1984). On Art Characteristics. Culture and Arts Press. (1-5).Wang, Songhua. Shen, Naiquan. Li, Fengchen. Wu, Zhaoshuang. Zhang, Jinhua. Xu, Xuelan. (2000). Philosophy and Art. Tianjin Socia