Regardless of all times, art is not from some abstract principle of universal reach of creative expression, art is always produced in a specific cultural awareness of the soil, with some kind of cultural values occurred close. For example, Chinese artists have always been great emphasis on the "gas", although ancient artists for the "gas" has not a clear definition of "gas" as if a different set of the concept of art criticism. However, the "gas" as an art, not only in the ancient practice of the artist, but also their cultural awareness and even philosophy there is a deep, in their view, the "gas" and some kind of heaven and earth to Liu Yi Between echoes the spirit of the universe, the universe of the spirit of understanding and a combination of intuitive thinking is considered a "gas." This "gas" attaches great importance to the cultural values of China's art has always stressed that "the spirit of" the accumulation of stresses associated with the image. Therefore, the traditional Chinese artists to pursue less partial or realistic sense of feeling stressed, but rather the beginning of the art of painting to avoid a high degree of realism, impressionism and highlights the art of Chinese painting an important feature.

We can not deny that mimic the reality of Chinese artists also have amazing art skills, such as painting, and other animals Jichu time focused on the feathers of the performance of the alleged assaults fishes, and completely cover the outline sketched out signs. But this is only one aspect of "realism", or are only available to the audience's point of view of a painting of "authenticity." Ancient Chinese artists painting was no longer realistic painting feathers, it is hard to find a "light" and "Shadow" traces. However, conscious of the lack of light and shade from the light of the modeling point of view, non-realistic. This is in light of Western painting style rule in sharp contrast. As a result, China's bird house is to mimic a more realistic performance targets of some, their focus is still on the performance of certain animals and plants "vitality" - in Feiming birds, flowers swaying in the breeze, and light The video was depicting the ignored. In the ancient Chinese painting is in the audience can not find the source of the painting, which is subject to the influence of Western culture of the audience, works at least the relationship between light and shade are not, how can they be regarded as a "realist" into the bargain ? On the other hand, the ancient Chinese audience that will not lead to any form of painting did not light the "authenticity" cast doubt on Chinese painting as the "line" by itself is the "heart" to launch, "Gas" and an extension of performance is for "common sense" rather than seeking a "reasonable". It appears that the different cultural values, or specifically said that the aesthetic taste of the arts, will probably have different criteria aesthetic. As the traditional Chinese painting by the "gas monism" The Art of values, and lines of ink staining the internal logic without strict rules, the arts in the flow of time and space to meet in an open state. Can break into line, the line runs through the dye could be in the pen and ink blending of the world, and not in full compliance with the law of the visual impression corresponds to the world, if the visual scale to measure, these paintings can only be considered as a "distortion "In the traditional Chinese art of painting seem to break through the concrete visibility of the object seems to be a very natural way of painting aesthetic, which is due to the long-term dip in some kind of aesthetic concepts of the artists I would not necessarily Some kind of aesthetic norms aware of the potential of its control. It is only when compared with some, such as the comparison with Western painting, will it be possible to trigger its Chinese traditional painting to reflect the aesthetic norms, will it be possible to have an aesthetic frame of reference as a way to find that they are the original art The position of the inherent characteristics of this art form is affected by how kind of values about the arts.

We know that when the "Focus Lens" in the history of Western painting gradually mature, traditional Chinese painting is often rough on the screen to distinguish between a close-range, and long-term Zhongjing, and do not pay attention to the precise relationship between the performance space. Shen Kuo of the Northern Song Dynasty so-called "Grand View to a small," "If people view rockery" theory, indeed can be summed up the aesthetic characteristics of Chinese painting. In other words, Chinese painting of the artist's rendering clearly that they "Landscape" is the assumption that things, but there is some kind of mental shape it materialized. The historical development of Chinese painting at a later stage, even the anti-"Perspective", in a number of buildings in landscape painting, figure painting in some tables and chairs, and other artifacts, people not only refused to pay attention "near the small far," the relationship between the Instead, they are hard to deal with "the last great small" anomaly in order to highlight the main characters on the screen, such as the emperor, and so on, there are indications that this is not a painter who inadvertently caused, but a conscious aesthetic pursuit -- In order to achieve the perfect art for some of the natural science knowledge that it could be postponed or even sabotage. No attention to "Focus" relations with China, of course, the natural sciences are less developed, but if the connection that Western painting as "science", which is an advanced, and traditional Chinese painting is "unscientific" and therefore " Behind the original ", such a conclusion would be naive. Western art of painting to the development of the "Impressionism", obviously there have been a conscious breach of the "Focus" of the law, enough to fully listen to the development of the arts is not absolute or subject to the natural sciences. In the history of Western painting had been on the "Focus" attaches great importance to relations, and Chinese artists have never been concerned about this, and in the course of historical development, in western painting artists have consciously give up the "Perspective" depicts the relationship. In China gradually came into contact with some of the history of Western painting the situation, a lot of people to the West "impressionist" painting with traditional Chinese painting analogy to do, surprised to find that they have so much in common, however, this so-called common This really shows that point between the two have common ground on the right? This is an issue worthy of discussion.