Research on Emotion Expression in Painting Art Based on Resemblance Theory
Abstract
In the face of paintings, people will have a variety of emotions, but it is not a matter of course that art can express emotions. Art itself cannot produce emotions, it is human beings who express emotions from the beginning to the end. Based on people's use of “resemblance” theory to express emotions through artworks, this paper probes into the nature of resemblance theory and the problems brought by the convention and seeks interaction of artists, audience and artworks in art expressing emotions. Art expressing emotion needs participation of the three, can not be one-sided demonstration. Resemblance theory is not invulnerable, but more of a hope to point to the root cause of this theoretical behavior, to thinking of the "mind", about this differentiating mind that defines emotion, the coexistence of empathy and prejudice, and so on. In addition, this paper also uses the uniqueness of ancient Chinese painting, which is different from Western art, highlights the connected forms of multi-emotion expression in painting art, and enriches and improves the research system of emotional expression in the field of Eastern painting art.
References
- Li Xiaoteng, Wang Meiyan. Research on the acceptance psychology of intensive art. Design Arts Research,2020,10(04):26-30.
- Yan Zhenqing,Manuscript of Offering sacrifices to his Nephew,http://www.ltfc.net/view/SUHA/6349167a92e5e82273faebfe
- Zhang Xiaobing. Manuscripts of Sacrificial Nephew: The Expression of calligraphers' Feelings of Adversity. Calligraphy and Painting World,2023(01):61-63.
- Deranty, Jean-Philippe.2019.Existentialist Aesthetics.https://plato.stanford.edu/archives/spr2019/entries/aesthetics-existentialist/
- Zuo Heng. On "Ideal audience" and "Audience's ideal". China Film News,2022-08-24(012).
- Hichem Naar. Art and emotion. https://iep.utm.edu/art-and-emotion/
- Pablo Picasso,The Weeping Woman.1937,Tate Modern and Tate Britain,London.
- Vincent Willem, Van Gogh. Almond Blossom. 1888,Van Gogh Museum,Amsterdam.
- Gu Yetian. The Decentreing of the Form of the Exhibit Label under Curatorial Practices Context of the Conceptual Art.Hundred Schools In Arts,2022,38(06):62-69+103.
- Yang Hong. Calligraphic inscriptions and seal seals -- An Exploration of Chinese Painting. Calligraphy and Painting World,2022(03):94-96.
- Zhou Jingjing. Attention Mechanism: On the theoretical mediation of exhibition Caption writing: A case study of the Exhibition Label Writing Excellence Award (2016-2018) in the United States. Museum of China,2019(04):53-62.
- Xvwei,Picture Scroll of Ink Flower,http://www.ltfc.net/view/SUHA/628f9bfffc5b9b2477fc6a41
- Zheng Sixiao,Picture of Ink Chinese cymbidium,http://www.ltfc.net/view/SUHA/63ad2a1adc4261263068f5d7
- Chen Fukang. “Saving Zheng Sixiao” — Debate on Several Issues Concerning Zheng Sixiao and His Adherents Literature and Adherents Art. Studies on Ancient Literary Theories,2023(01):123-136.
- Wang Ying. Adherent Narration and Image Intertextuality: Autobiography and Metaphor of Country in Zheng Sixiao's Poems and Painting. Journal of ZhengZhou University,2022,55(05):67-75+128.
- Zou Xiaoyu. The generative effect of the content of Chinese painting title on the artistic conception of the picture. Journal of JiLin Radio and TV University,2011(02):111-113.
- Zhang Xiaolei. From Blue grass to orchids [D]. Nanjing Normal University,2022.