ISSN 2409-7616

S. Lomov, Lee Fugui, Zhang Ning



Stanislav P. Lomov – Doctor of Pedagogical Sciences, Professor, Head of Department history of art culture and teaching methods fine art, academician of the Russian Academy Education, Moscow, Russian Federation, E-mail:

Lee Fugui – Graduate student of the Moscow State Pedagogical University, Weinan Normal University, Weinan, China

Zhang Ning – Graduate student of the Moscow State Pedagogical University, Weinan Normal University, Weinan, China

Abstract. The article discusses issues related to the perception and understanding of the aesthetics of color in Chinese painting, which is important both for the formation of a worldview position and for the development of professional competencies of a graduate of a pedagogical university. Confucian and Taoist ideologies had a profound influence on the ideas about the peculiarities of the color of Chinese painting. Chinese painting, as a living reflection of the Yin-Yang theory, as well as Confucian and Taoist philosophical ideology, seeks subjective feelings and impressions. Paints in Chinese painting are not a natural, rational display, they also do not appear to be the purest form expression of the color palette, but they are a complete combination of subjective and objective, they carry out color design and artistic display. Chinese painting does not use such doctrines as the three constituent colors that meet the requirements of science (hue, saturation and brightness), the colors of objects and light sources, the shades of the environment, as well as the color of emptiness and fullness of space, the combination and juxtaposition of colors. Simple shades and colors can demonstrate the diversity of moods and national color. Black and white among the other five colors turned into two representative and typical colors of the Chinese dualistic natural philosophical school of Yin-Yang. In Confucianism, special attention is paid to the expression of subjective (personal) emotions, Taoism tends to non-being, to completely merge with nature. The concept of the existence of five colors (yellow, red, blue, white, black) and the black color of non-existence complement each other, secretly hide the hidden meaning of the rich color of the painting. Thus, the philosophical and aesthetic views inherent in Chinese culture have a profound effect on the formation of an aesthetic perception of the peculiarities of color shades by students of a pedagogical university who study the basics of Chinese painting.

Keywords: Confucianism; Taoism guhua (Chinese national painting); students aesthetic perception.



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For citation:

Lee Fugui, Zhang Ning, Lomov S.P. Colorit aesthetics in Chinese painting: basis of world-view position of graduate of pedagogical university. CITISE, 2019, no. 5, pp. 526-535. DOI: