中西文化审美差异及原因
摘要：中西方的审美受意识形态及文化背景的影响而有着显著的不同。比较的方法分析中西方美术审美的不同，并揭示产生这种不同的审美差异的原因，说明中西方美术审美既有相同性，又有较大差异，并且这种差异将随着各自的历史文化的发展变迁而产生变化。
关键词：美学审美差异美学价值
审美理想是特定民族在特定历史阶段中所形成的审美追求的集中体现，是一定社会的物质文明生活及意识形态在审美领域中的最高结晶。中国传统绘画与西方绘画的审美观念相比，虽然有某些相同之处，但也明显表现出较大的差异。
一、美的概念
谈到审美，首先要考虑的问题就是美是什么？从字源学来看，根据《说文解字》：羊大则美，认为羊长得很肥大就“美”。这说明，美与感性存在、与满足人的感性需要和享受有直接的关系。《论语》里讲“里仁为美”，又讲子张问“何谓五美？”孔子回答说“君子惠而不费，劳而不怨，欲而不贪，泰而不骄，威而不猛。”这里的美讲的都是善。这里“美”和“善”是混在一起的，经常是一个意思。
二、中西美术审美差异
在西方，毕达哥拉斯学派是古希腊哲学史上最早的大学派，他们认为“数”是万物之源，事物的存在就是数理的存在，美就是数的和谐。西方古代哲人们直接把对美的追求具体化为视觉的和谐形式创造。古希腊的思想家和艺术家们从他们理解世界的基本观点出发，为艺术设定了追求美、再现美的原则，那就是：什么是最智慧的？——数；什么是最美的？——和谐。最智慧的也就是最美的，最美的也就是最智慧的——数的和谐。柏拉图则认为“艺术是对理式的模仿物的（现实事物）的再模仿”。他的学生亚里士多德则从另一角度把美是数的和谐的理论改造成为关于具体事物典型形式的和谐说，从而把西方追求“形式和谐”的审美理想与艺术的创作实践进一步结合起来。他认为“照事物应当有的样子创造出来的艺术才是美的艺术。这是西方古代关于”“和谐”的审美理想的又一个层次。
比较中西，如果中国古代哲人对美的认识主要是侧重审美的“心理”方面，那么西方古代哲人就是侧重于审美的“物理”方面。亚里士多德在他的《诗学》一书中开宗明义的说：一切艺术“实际上就是模仿”。这也就是为什么西方绘画仍沿着写实主义的道路继续前进，将绘画艺术当作科学，兢兢于透视法、解剖学的研究的原因。直到 20 世纪以前，西方绘画基本上都是以精心描绘客观对象为主，要求艺术形象要尽可能的接近所描绘的客观对象，达到逼真；中国传统绘画则从魏晋开始，由“形似”逐步转向对“神似”的追求，又进一步发展成为“写意”。中国画家较早地认识到“形似”不一定能达到“神似”，为了更好地传神，形的描绘可以更加灵活、更加夸张，强调绘画应把“神似”放在首位，而不必一味追求“形似”。可以说,“妙在似与不似之间”既是中国传统绘画的审美标准，也是中国传统画家所追求的最高境界。
吴道子、王维的水墨山水，李公麟、梁楷的水墨人物, 徐熙的水墨花鸟都对后来的写意画产生了极大的影响。写意即为写“意象”、写“意境”、“写心”、“写性”、“写神”。它托物言志，状物寄性，借景抒情, 表达的是一种精神、一种意识、一种理想。它既有再现客观物象的因素，更体现了画家的主观
情怀，反映了一种对内心性情的抒发和对崇高精神的追求。“写意”是中国绘画传统的出发点和目的，这种艺术观使中国画家可以摆脱时空的限制, 超越客观物象，获得更大的艺术表现的自由。如果说，西方写实主义艺术观由于对客观物象再现的追求，在绘画理论中渗透着物理学知识的成分，体现一种科学的精神，那么与之相比，中国的写意艺术观则更能体现强烈的人文精神。
三、中西美术审美差异产生的原因
产生中西审美差异的原因要从中西不同民族的传统文化以及审美理想的发展演变来看。儒、道思想集中代表了汉文化不同于世界其它民族文化的基本特质。
儒家作为孔子开创的中国封建文化的正统意识形态，对中华民族的审美意识有着至关重要的影响。儒家美学的中心概念即是“中和之美”，强调以文权体制为中心的宇宙间的一切的普遍和谐，“中和”的宇宙是一个以现实政治和人伦社会为中心的整体和谐的宇宙，它作为儒家文化的理想是美的极致。中国的宫殿建筑以中心轴线为中心而向两边对称展开的形式，集中地体现了儒家文化的这种“中和”之美。而对人际关系和谐的重视，也把中国人的审美心理引向两边“呤咏情性”方面，导致中国诗画的抒情达意
的倾向。儒家美学的最大贡献是为中国文人提供了一种普遍关怀一切存在的心灵，正是这种心灵决定了中国诗画中的那种“提神太虚”“散点透视”的空间构造和它的宇宙感，人生感。同时，孔子提倡以宗法社会的道德精神为美之本，把“成教化、助人伦”作为艺术的最高目标，把“外师造化，中得心源”的绘画技能章法完善为实践之途，从而达到一种理想美的创作境界。经典英语散文
道家文化作为在中国本土产生的一种文化产物，与正统的儒家文化构成一种互补的关系。道家所尊崇的是天地万物的自然而然的生成之道。道家美学的另一大贡献是为中国艺术提供了一种审美的境界，它的基本特征是“虚静”和“空灵”。庄子主张把自我同化于自然整体，最高的艺术境界是同于自然的一片无我而又充实的虚灵，一种“淡然无及而众美从之”的境界。中国画从唐代起青绿山水渐废，而文人水墨山水兴起，道家的美学影响是一个不可忽视的原因。老子对“玄”“素”二种色彩高度重视，不断提到“玄”“素”，玄为黑，素为白。“玄”、“素”即为后世水墨画所依据的颜色。
在西方美学中，希腊文明向西方艺术提供了一种以神圣的形式为中心概念的美学价值，基督教文明则向西方艺术提供了一种以光和色彩为特征的美学价值，二者相互渗透和彼此共同构成西方美术在美术风格上的总体面貌。希腊人认为宇宙是一个整体完满的神圣秩序。这一神圣同时是有限和静止的，这导致希腊人把“静穆”当成美的理想。人体是宇宙这一大秩序中的小秩序。希腊艺术家以人体雕塑表现其心中神的形象，并以此象征宇宙的神圣秩序。希腊式的古典美学价值还表现为一种强调多样统一的形式观念。希腊美学家把美看成是比例与和谐。希腊人向西方艺术提供了一种“古典美”的理想典范，
古典美学价值的中心概念是形式——既包括人体的具体形式，又包括宇宙万象的抽象形式——理式，这种美学价值始终渗透着一种以数学和几何学的测量为基础的科学精神。
在后世，以形式为中心的古典美学价值成为一种观念或典型，不断规范，引导着西方艺术家的思维和创作。在它的影响下，西方艺术一方面倾向表现为一种以人体的比例与和谐即人体为主要对象的写实主义，另一方面，西方艺术在追求人体美的同时，从不放弃它对人体美所象征的宇宙神圣秩序即理式的追求。这也导致了抽象主义绘画艺术
的出现。在这一点上二者有着共同的渊源。作为对西方艺术、文化影响深远的宗教——基督教，在教义上基督教相信，当人类堕落而被逐出伊甸园之后，上帝为挽救人类，让自己的儿子耶稣基督被钉死在十字架上，因此，上帝与人类之间超绝的鸿沟，终于被基督这一人神兼备的形象而接续，这就是“道成肉身”。“道成肉身”以及神、人之间的新型关系打破了希伯来宗教中“不可制作偶像”的绝对戒律，从而创立了一整套基督教的图像和象征主义。比如：十字架是基督本人的象征，而基督又是“道成肉身”的象征，面包和葡萄酒是基督的肉身和鲜血，羊羔是基督顺从的信徒的象征。如果没有这种象征意义，整个西方艺术史便是不可能的；也正是如此，它促成了文艺复兴的伟大艺术运动。由于超绝的上帝及其永恒的形象是无法用任何具体的形质加以描绘表现的，这就导致基督教经常以“光”隐喻上帝，上帝即“生气勃勃的光自身”而“光”便成为基督教最高美学价值的形象体现。正因为光和色彩在基督教文化中首先象征着上帝的神圣力量，因此，西方人一直是怀着崇敬的心态研究光和色彩以及光和色彩在
寿比南山不老松
绘画中的运用，并把其当作一项伟大的事业。一方面它导致科学的光学和色彩学的诞生，成为西方美术的发展动力之一。另一方面，物体表面因吸收和反射光线所呈现的绚丽丰富的色彩变化，为西方美术提供了取之不尽，用之不竭的创作源泉。
四、结语学生评价表
比较中西美术作品的不同美学特征，则可以发现中国美术创作在主观与客观、表现与再现、抒情与求真等关系中，较为强调主观、表现、抒情等偏于创作主体方面的因素；西方创作则相对强调了客观、再现、求真等偏于对象客体方面的因素。中西艺术既有相同性，又有各自特点的差异性，构成了人类艺术审美的历史形态。正如任何观念都是时代的、历史的，中西艺术的这一基本创作审美观念必然随着社会历史形态的变迁而发生变化。中西艺术的审美差异是基于各自不同的历史文化背景的，这种差异也必然随着各自的历史文化的发展变迁而产生变化。
史泽波五、致谢
此次毕业论文完成得到了多方帮助，其中我的导师闫惠峰老师的关怀与支持尤为重要。在论文完成的过程中，她提供了十分宝贵的意见及指导。此外，陕西科技大学外国语与传播学院艺播教研室的老师们也为论文的书写与修改提供了许多建议。在此对敬爱的老师们表示感谢。
另外还要向母校致谢，论文完成所需的大量文献资源都是在校园提供的网上平台获取的。
最后，向所有在此次毕业论文写作中给予我帮助的领导，老师，同学，朋友们真诚地致谢！日本端岛
贯众参考文献：
[1]李泽厚.美学四讲[M].生活读书新知三联书店,2004.
[2]孔新苗，张萍.中西美术比较[M].山东画报出版社,2002.
[3]李泽厚.美的历程[M].广西师范大学出版社,2002.
Chine and Western aesthetic differences and the reasons for
Abstract: Chine and Western aesthetic ideological and cultural backgrounds were different. The comparative method in Western art aesthetic difference, and reveal the reason for this different aesthetic differences, indicating that in Western art aesthetic both the same, there are large differences, and this difference w ill be w ith their own history and culture the development changes.
Keywords: Aesthetic differences in aesthetic value
The aesthetic ideal is a concentrated expression of the aesthetic pursuit of specific ethnic groups in t
he formation of a spec ific historical stage, the highest crystallization of certain social material life and ideology in the aesthetic field. Compared w ith the aesthetic ideas of Western painting, traditional Chine painting, although there are some similarities, but also clearly demonstrated a greater difference.
1, the concept of beauty
It comes to the aesthetic, the first issue to consider is what beauty is? Zi learn from the point of view, according to the "Dictionary": the sheep is the United States, that the sheep looked mast on the "beauty". This shows the beauty and nsual existence, and to meet people's emotional needs and enjoy a direct relationship. "The Analects of Confucius" talk "Liren, but also speak to Zi Zhang asked," What is the five? "Confuc ius replied the gentleman benefits without fee, labor and not complain, For without greed, Thailand without arrogance, Viagra without fierce. "beauty here talking about are good. "Americ a" and "good" is mixed together, is often a meaning.
2，Aesthetic differences of Chine and Western art
电脑home键The Pythagoreans in the West, the history of philosophy in ancient Greece the first university to nd, and they believe that the "number" is the source of all things, the existence of things is the exis
tence of the mathematical, the United States is the number of harmony. Ancient Western philosophers directly to the concrete into a quest for beauty harmonious form of visual creation. Thinkers and artists of anc ient Greece from their understanding of the basic viewpoints of the world's pursuit of beauty, to reproduce the princ iples of beauty, art t, that is: What is the w isdom? - Number; What is the best? - And harmonic. The wisdom that is the most beautiful, most beautiful is the wisdom - the number of harmony. Plato believes that art is imitation "management style to imitate things (real things). His student, Aristotle, from another point of beauty is a harmonious theory transformed into harmony on the typical form of concrete things that the Western pursuit of "harmony" of the aesthetic ideal and art of creative practice to further integrate up. He believes that "according to things that should be some like to create art is beautiful art. This is yet another level of ancient Western aesthetic ideal of" harmony ".
East and West, ancient Chine philosopher, understanding focus primarily on the aesthetic of the "psychological" aspects of Western ancient philosophers is to focus on the aesthetic of the "physical". Aristotle in his book "Poetics" at the outt: all art "is actually
imitate". This is why Western painting still continue along the path of realism forward, the art of painting as a science, Jingjing in perspective, the reasons of the study of anatomy. Western painting
until the 20th century, basically to carefully painted an objective-bad artistic image as clo as possible to the objective object depicted to achieve realistic; the beginning of the traditional Chine painting from the Wei, Jin, by the shape of the "step by step turned to the pursuit of "likeness", and further development to become a "freehand". Chine artists to recognize the early shape of "may not be able to achieve" likeness "in order to better expressive, shaped depiction can be more flexible, more exaggerated and emphasized that the painting should be" quite similar "top priority, rather than the blind pursuit of shape ". It can be said, "wonderful in between like and not like" both the aesthetic standards of the traditiona l Chine painting, traditional Chine painter to pursue the highest realm. Wu Daozi, ink landscape of Wang Wei, Li Gonglin and ink figure of Liang Kai Xu Xi Ink bird had a great influence on the later impressionistic painting. Impressionistic "image" is to write, to write the "mood" and "to write the Heart" and "write", "Write God. Care of statement, the bar nt by King lyric, the expression of a spirit, a n of an ideal. It has both the reproduction of the factors of objective images, but also reflects the artist's subjective feelings, reflecting an inner disposition to express and as the pursuit of lofty spirit. "Freehand" is the starting point and purpo of traditional Chine painting, this art concept allows the artists can get rid of the restrictions of time and space, beyond the objective images to obtain greater freedom of artistic expression. If the Western realist art concept of the pursuit of objective images reproduced in the theory of painting, permeated with th
swaps
e physics knowledge of the composition, reflecting a scientific spirit, and then compared with the freehand art concept to better reflect the strong the human spirit.
3, the aesthetic differences of Chine and Western art
Reason to produce and Western aesthetic differences from the traditional culture of Chine and Western different ethnic groups as well as the aesthetic ideal of the evolution of view. Confucianism and Taoism concentrated on behalf of the basic characteristics of Chine culture is different from the other nations of the world culture.
The orthodox ideology of the Confucian initiated as Confuc ius Chine feudal culture, has a critical influence on the aesthetic consciousness of the Chine nation. Confucian aesthetics of the center concept that is, is "in and of Amer ica", emphasize between the text of the right system univer all the universal harmony, "in and" the univer is a practical political and human relations and soc iety as a whole harmony of the univer America, as the ideal of the Confuc ian culture is the ultimate. China's palaces to the central axis as the center expanded to both sides of the symmetrical form of a concentrated expression of the Confucian culture of this "and" America. Interpersonal harmony attention, but also the aesthetic psychology of the Chine people toward both sides of the "whisper
chant Feeling", leading to the tendency of Chine poetry and painting lyrical expressive. Greatest contribution of the Confuc ian aesthetics for the Chine literati a universal care for all the existence of the soul, it is this mind determines the kind of Chine Poetry and Painting "refreshing V oid space structure of the" cavalier perspective "and its cosmic n, a n of life. Confuc ius advocated a patriarchal soc iety's moral and spiritual beauty of this "into enlightenment to help
