Abstract

Why is it 18 centuries ago, Chinese scholars believe that Western painting "strokes no", "lifeless"? Why is it Qianlong period of the missionaries in the court services between the artist and the Chinese artists will be around the "shadow" misunderstanding the problem? Why is it to the new culture movement before and after the Chinese scholars would locate in Western painting, "realism" on? In this study, force diagram showing the "New Culture Movement" to the year 1937 before the intersection of Western art in the formation of "cross-cultural context", and in this context, China's modern aesthetics and art of self-identity construction and formation of knowledge. Here the formation of In order to two of the Path: "Art Revolution" advocates through the conscious introduction of Western painting "realism" and "science" coming form the traditional painting of the criticism, painting "quintessence regardless," who is quoted Western art as a reference framework in an attempt to get legitimacy within their own traditional restatement, and the formation of In order to complex words - knowledge building mechanism. Facts show that China's modern art domain is the process of China's "Mind" and Western "eyes" gaze between the dislocation in the beginning. Why were Western paintings considered "without stroke order" or "lifeless" by Chinese scholars before the 18 century? Why did the court painters / missionaries during the reign of Emperor Qianlong have misunderstandings with Chinese painters on the question of "shadows "? Why did Chinese painters around the time of the" New Culture Movement "define Western paintings as" realistic "? This paper is to present the" cross-cultural context "formed by the interflow between Chinese and Western arts from days of the" New Culture Movement "to 1937 as well as the construction of self-identity and the formation of knowledge of modern Chinese aesthetics and art in this context. From all these things emerged two paths: the advocates of" fine-art revolution "invoked the" realism "and" science "of Western painting to criticize traditional pieces, while the guardians of" national legacy "employed Western fine art as reference framework to make a renewed legitimate statement about their own tradition and form a complicated mechanism of" discourse-knowledge " construction. In the end, it turns out that evolution of the modernity of Chinese fine art started in the altering gazes of the Chinese "mind nature" and the Western "eyes."