Chinese Art In The 20th Century, 30-70 Years, "he"

A proper methodology is essential to any type of analysis, and each methodology has its own applicable environment. Since the beginning of the 20th century, different western aesthetic genres have analyzed arts from different angles, using different methodologies: Formalism focuses on the analyze of linguistic and structural ideology, while reception aesthetics emphasizes the significance of audiences in art activities…Based on a certain "unilateral profundity", these aesthetic genres constructed various methodological models. These models provide us with a broad thinking horizon and diverse visual angles, which further allows us to obtain diverse understandings of a single phenomenon as well as to discover its neglected characteristics. This paper adopts Bakhtin's dialogism theory as its analytical tool. Using "the other"as the external frame of reference, it expatiates on the characteristics of Chinese fine arts under the collision of Chinese and Western cultures in the 20th century. Bakhtin , one of the leading thinkers in the 20th century, introduces the identity construction in dialogues and emphasizes the respect of "the other". Based on specific linguistic behaviors, Bakhtin claims that "dialogue"is a common social presence, which has philosophical implications and value. Based on Bakhtin's dialogism theory, this paper examines Chinese fine arts between the 1930s and 1970s. Using "the other"as the referencing system is this paper's major contribution to the existing studies on the 20th century's Chinese fine arts. This paper consists of four parts. Chapter One "Introduction"introduces the conceptions of "dialogism"and "the other"and describes the characteristics of "traditional"art and "western"art –the two "others"that have influenced China's modern fine arts in the 20th century. Chapter Two is titled "The emergence of 'the other'". It examines the impacts of the introduction "the other"on the process of new arts...