Narrative Painting in the East and West: Structural Divergence and Contemporary Relevance

Article ID: 5649

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Keywords: Arrative Painting; Isual Language; Ross-Cultural Context; Rtistic Exchang

Abstract

This paper examines the similarities and differences between Chinese and Western narrative painting within the contemporary image-saturated cultural context, focusing on their visual language, structural logic, and cultural functions. It traces the distinct developmental trajectories of both traditions: Western painting evolved from religious narratives to individual expression, ultimately ceding dominance to abstraction, while Chinese narrative painting, influenced by philosophical and societal shifts, developed its own characteristics, particularly a strong secular and collective focus from the Song and Yuan dynasties onwards. The comparative analysis highlights key structural differences: Western painting often employs a fixed, dramatic moment and focal perspective, emphasizing individual heroes, whereas Chinese painting utilizes a flowing, multi-perspective “scenic stroll” approach and often depicts collective scenes. The paper also explores brief historical convergences, such as artistic exchanges during the Qing dynasty, and concludes by reflecting on the potential relevance of narrative painting in countering historical nihilism in the contemporary era, where abstraction prevails. The main critique points to a need for greater academic rigor, clearer research questions, and formal citations.