East and West, two completely different cultural atmospheres complement each other in the field of art, forming two unique, similar but different aesthetic styles of French Chinese style and traditional Chinese aesthetics. Although they come from different historical contexts and express different aesthetic trends in different cultural traditions, philosophical concepts, and social backgrounds, they are inextricably linked to each other due to their unique historical causes. French Chinese style and traditional Chinese aesthetics not only contain the same and homogeneous oriental aesthetic logic, but also have heterogeneous views due to the different artists and social backgrounds. In this aesthetic dialogue between East and West, these two cultural envoys show the viewer the unique beauty of ancient civilizations in their own ways.
Delft, the Netherlands, blue and white Chinese style ginger cans
Traditional Chinese aesthetics pay attention to the unity of philosophy, culture and aesthetics, and pay attention to "the picture must be intentional", and its aesthetic essence is rooted in deep philosophy and poetry (environment). Influenced by the idea of "the unity of nature and man" in traditional Chinese culture, traditional Chinese aesthetics pursue the aesthetics of nature, balance and harmony, and advocate the integration of the spiritual life of the creative subject and the spiritual life of nature, so this "balance" imitates and follows "nature", so there is a balance in asymmetry, because nature always shows its asymmetrical characteristics. From the pattern of the early Yuan blue and white clay pot in Delft, the Netherlands in the 18th century, it can be found that chinoiserie inherited the pursuit of nature and the depiction of asymmetry in traditional Chinese aesthetics, and this asymmetry has also become one of the important differences between French Chinese style and even rococo style and other Western aesthetic styles, and has also become one of the similarities between chinoiserie and traditional Chinese aesthetics.
Boucher Le Repas de l'Empereur de Chinese
In contrast to the traditional Chinese aesthetic, the French chinoiserie uses a lot of gold ornaments derived from the Rococo style, which are also gilded in the pre-Rococo Baroque style to convey religious and political solemnity and authority. However, in addition to gold, the restrained, soft, natural, and austere side of the traditional Chinese aesthetic also had an impact on the French chinoise, which led the latter to turn to a unique pastel color palette, such as powder blue or pink, which was not exactly the same as the restrained and elegant tones of traditional Chinese style, but its influence made it escape from the serious, oppressive, and dramatic colors of the Baroque and became a kind of resistance to the Baroque style. From Rococo and French chinoiserie by the famous painter François Boucher "Le Repas de l'Empereur de Chinese" (The Banquet of the Emperor of China) It can be found that although the composition and perspective methods of his works are still Western, the clothing of the characters is not accurate, and there is a shadow relationship that is not evident in Chinese painting, the colors are soft, and although the works have the contrast of red and blue, the saturation is controlled, sweeping away the strong drama brought by the highly saturated colors on the black background of the previous Baroque period, and presenting a leisurely and peaceful scene atmosphere as a whole.
Another similarity between French Chinese style and traditional Chinese aesthetics is the use of Chinese elements, but although the elements of the two are the same, the final effect is not completely consistent, the former adds a unique fantasy and imagination to the traditional Chinese style, and often inherits the Western perspective techniques, shadow relationships and composition techniques in the processing techniques, which makes the chinoiserie more superficial decorative, fantastical and realistic effects, while the traditional Chinese aesthetics are often more restrained. Soft, and pay attention to the beauty of god-likeness and charm.
Chu Cui Palace, Yun Yin Qingyue, Cloud Poetry brooch
In the mid-20th century, Chucui Palace, a fine jewelry brand formerly known as an Italian jewelry family, created a brooch called "Cloud Poetry", which is based on the classic theme of French Chinese style and the cultural totem "dragon" in traditional Chinese aesthetics. The work inherits the soft pink color of the French Chinese style, and imitates the traditional Chinese gongbi painting method of separation and dyeing, choosing blue gemstones of different shades to pave the dragon body, so as to create a pure and rendered effect like brush and ink. The work not only inherits the movement of the curves and curved surfaces derived from the rococo style in the French Chinese style, but also on the basis of understanding the blank space in the traditional Chinese painting, the main line of the dragon body is interwoven with the transparency and breathing sense of "auspicious clouds", so that the whole work has a poetic artistic conception, which is not only vivid, but also has both god and shape, and is a classic work that is well versed in the beauty of chinoiserie and traditional Chinese aesthetics.
Cartier Dragon Chinese Temple Electric Clock
Another difference between French Chinese style and traditional Chinese aesthetics is that the latter is more inclined to use natural materials, such as wood, stone and bamboo, and pursues simplicity and natural beauty, while the former pays more attention to the collision of mixed and matched materials, and attaches more importance to the pursuit of decoration such as gilding. Cartier's 1989 "Dragon Chinese Temple" electric clock shows the diversity and magnificence of the French-style chinoiserie materials it represents. The work uses a variety of materials such as **, platinum, silver, diamond, jadeite, enamel, onyx to highlight its luxury and refinement, emphasizing texture and technicality, which is very different from the traditional Chinese aesthetics in the single and simple philosophical thoughts, one is more born, and the other is more into the WTO performance.
In this artistic dialogue between French Chinese style and traditional Chinese aesthetics, we witnessed the profound integration of Eastern and Western cultures in the aesthetic field. They not only have similar origins, but also present completely different artistic expressions through the skillful use of artists. With its unique fantasy, decoration and fusion with Western aesthetics, French Chinese style shows a cultural innovation that transcends time and space. Traditional Chinese aesthetics, on the other hand, pay more attention to the beauty of nature, simplicity and balance, supported by philosophical thoughts, and inherit the essence of oriental aesthetics for thousands of years. In this dialogue, the artwork is like a messenger of culture, using a unique language to tell the collision, integration and innovation of the East and the West in aesthetic concepts. This feast of art expresses the tolerance and diversity of culture, which also makes the French Chinese style and traditional Chinese aesthetics interweave a deep and moving gorgeous melody on the stage of art.