Comparative Study of Western and Chinese Landscape Painting

Tianyi Lyu

Vanke Meisha Academic, Shenzhen, Guangdong, China

Keywords: Paint Realistically, Artistic Conception, Spatial Level.

Abstract: Landscape painting, as the name suggests, is an art form that primarily depicts natural scenery. However,

there are significant differences between landscape painting in different regions, particularly between China

and the Western traditions. This article analyzes the reasons for the differences between Chinese and Western

landscape painting in audience's perspectives and emotional responses, focusing on the impacts of religion,

science and cultural influences on Western landscape painting. By comparing famous Chinese and western

landscape painting works, this paper explores differences in content, brushstrokes, color usage, structure and

social context. The findings reveal that Chinese landscape painting emphasizes composition hierarchy, and

the conveyance of audience atmosphere and artistic conception, reflecting Taoist principles. Western land-

scape painting, on the other hand, is deeply influenced by science, religion, and cultural development, focus-

ing on detailed depictions of light, shadow, and color.

1 INTRODUCTION

This study focuses on the differences and similarities

between Chinese and Western landscape paintings,

particularly in painting techniques, cultural

influences, and societal backgrounds. Painting has

evolved as a primary means of human expression,

documenting life and emotions over centuries (Deng,

2008). Landscape painting, as an important branch of

this art, not only captures the beauty of nature but also

reflects profound cultural connotation and aesthetics

(Ding, 2024). With globalization facilitating cultural

exchanges, comparing these two traditions has

become increasingly significant.

This study is significant for deepening the

understanding of Chinese and Western

paintingtraditions and promoting cultural exchange

and integration. First, by examining the similarities

and differences between these two traditions, it

highlights the unique charm of landscape painting in

completely different cultural settings. Second, this

research supports cultural exchange and integration

by enhancing understanding and respect for different

artistic and societal contexts.

The analysis focuses on four key areas: painting

techniques, emotional expression, social background,

and aesthetic concepts. In terms of techniques,

traditional Chinese landscape painting emphasizes

the use of ink and the creation of artistic conception

(Fu, 2024). It reveals a unique Oriental charm through

the smooth lines, dark and dry ink, and balanced

compositions. By contrast, Western landscape

painting prioritized the use of light and shadow, and

colors, achieving three-dimensional and realistic

effects through careful light and shade contrast and

rich color layers. Emotional expression also varies

between the two traditions, each having its own

distinctive characteristics (Guo, 2014). Traditional

Chinese landscape painting often expresses emotion

through natural scenes, reflecting the painter's inner

world and life philosophy (Monet et al., 2011). This

introspective approach conveys a harmonious

connection between humans and nature, where

emotions flow through the depicted landscapes.

Western landscape painting, on the other hand, pays

more attention to the magnificence and harmony of

nature iteself, using delicate light, shadow processing,

and color matching to emphasize an external sense of

beauty. The social background and aesthetic concept

of these traditions further distinguish them. Chinese

landscape painting is deeply rooted in traditional

philosophies, particularly Taoist ideas about the unity

between humans and nature. This philosophical

foundation imbues the art with a meditative and

spiritual quality. In contrast, Western landscape

painting reflects the influence of scientific

advancements and cultural developments. The

discovery of optics, perspective, and color theory

contributed to its realistic depictions and a fascination

with the natural world

Lyu, T.

Comparative Study of Western and Chinese Landscape Painting.

DOI: 10.5220/0013998700004912

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 1st International Conference on Innovative Education and Social Development (IESD 2025), pages 425-430

ISBN: 978-989-758-779-5

425

To further explore the similarities and differences,

this study uses the literature analysis method to search

for and review relevant materials and scholar works.

This method provides a foundation for examining the

historical origin, development context, and

representative works of Chinese and Western

landscape painting, offering rich resources and

theoretical support for the comparative study. In the

research process, this study first organizes and

compares the historical evolution of Chinese and

Western landscape painting traditions. This includes

a detailed examination of their painting techniques,

emotional expression, social background, and

aesthetic concepts. By identifying patterns and

changes over time, the study highlights the defining

features of each tradition (Tang, 2005). Furthermore,

specific representative works are analyzed as case

studies to provide a direct and intuitive comparison of

the similarities and differences in Chinese and

Western landscape paintings. These examples help to

illustrate the unique charm and artistic value of each

tradition, offering deeper insights into their cultural

and artistic identities.

The ultimate goal of this study is to uncover the

cultural and social roots behind the similarities and

differences between Chinese and Western landscape

paintings, thereby providing theoretical support and

practical guidance for promoting cultural exchange

and integration. The findings demonstrate that the

similarities and differences between Chinese and

Western landscape paintings are not confined to

artistic techniques or emotional expression but also

reflect the aesthetic concepts and values of their

respective cultural backgrounds. By understanding

these differences, we can better appreciate the

diversity of artistic traditions and develop new

perspectives to foster cross-cultural integration and

innovation in art.

2 BACKGROUND

Landscape painting, as the name suggests, is a form

of art where natural landscapes such as mountains,

rivers, and streams as the primary subject. It records

the spectacular and beautiful natural scenes that the

artist observes (Rafting, 2024). However, landscape

painting is not solely focused on observation; it also

carries rich connotations shaped by various regions,

periods, and social backgrounds, highlighting the

harmonious coexistence between humans and nature

as a central theme.

Whether in terms of surface-level painting

techniques or deeper emotional expressions,

landscape paintings show both noticeable differences

and commonalities across regions (Wan, 2021). The

contrast between Western and Chinese landscape

paintings serves as a classic example of how

geographical and cultural differences shape artistic

expression. The long-standing separation of the

Western and Eastern worlds has resulted in entirely

different societies, histories, religions, cultural

values, and traditional customs, which directly

influence their respective approaches to landscape

paintings.

Although there are clear differences between

Chinese and Western landscape paintings, both

traditions have produced exceptional works with

distinct artistic value (Wang, 2024). By comparing

famous and widely recognized landscape paintings

from the two regions, one can better understand these

differences and how they influence the audience’s

reception and perspectives. For instance, Chinese

landscapes often focus on composition and layers to

create magnificent landscapes using exquisite

brushwork and ink colors on silk or paper. In contrast,

Western landscape artists emphasize the interplay of

light and shadow, using oil paints on canvas or wood

to achieve vivid and realistic depictions of nature and

making the contrast more obvious.

3 ANALYSIS OF CHINESE

LANDSCAPE PAINTING

In ancient China, landscape paintings held a noble

status and became a primary art form within society.

Its development reached its peak during the Song

Dynasty, producing many renowned artists and

masterpieces. Among these, Fan Kuan's "Traveling in

the Mountains and Rivers" stands out as a

representative work of Chinese panoramic landscape

painting (Figure 1).

Fan Kuan, a prominent artist of the Northern Song

Dynasty, created this masterpiece with an ink brush

on silk. Spanning 206.3 cm in height and 103.3 cm in

width, this magnificent painting depicts the scenery

of the Zhongnan Mountain area in the ancient

Qinlong area, now part of Shanxi and Gansu

provinces. Through vigorous brushwork, the painting

conveys the magnificence of the northern landscape

(Wang, 2023). At the center of the composition, a

towering mountain peak occupies most of the space,

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drawing the viewer’s attention and establishing it as

the painting’s protagonist. Dense forests and clouds

surround its summit, while evenly distributed trees

and shrubs enhance the sense of depth and vitality.

Further details, such as the weathered texture of the

rocks and the cascading waterfall in the valley, add

dynamism to the composition. At the foot of the

mountain, a broad but looming stream winds through

the terrain, where a group of merchants and their

donkeys traverse a narrow mountain path. This

imagery vividly reflects the painting’s theme of

"traveling in the mountains and rivers."

When observing Fan Kuan’s "Traveling in the

Mountains and Rivers," the viewer’s gaze is guided

and influenced by the thoughtful composition of the

painting. In this context, the composition plays a

critical role (Xu, 2007). The arrangement within the

painting helps the artist direct the viewer’s focus,

establish layers, and enhance the overall visual effect.

Fan Kuan utilized multiple compositional techniques

to achieve these effects in "Traveling in the

Mountains and Rivers,". First of all, the use of a “high

and far” perspective offers the viewer an ascending

view of the scenery (Yu, 2008). This technique

emphasized the mountain’s grandeur, beginning from

its base, leading the eye upward to its majestic peak,

ultimately creating a powerful visual impact. In

addition, Fan Kuan did not limit the painting to a

single mountain but also included a smaller one in the

foreground. This deliberate choice of overlapping

elements creates a sense of depth and spatial

arrangement, with a clear primary and secondary

relationship,

Secondly, Fan Kuan employed a three-stage

composition, diving the scenery into close-up,

middle, and distant views. In the close-up view, the

painting features large rocks, dense forests, mountain

roads, and merchants traveling along the path. The

middle view includes a stream flowing from the

mountain’s base and the clouds gathering at its foot.

The distant view is dominated by the towering central

mountain, its rugged stone texture complemented by

cascading waterfalls and peaks covered with

vegetation. This layered composition not only

enhances spatial depth but also creates a harmonious

layout.

Regarding brushwork, "Traveling in the

Mountains and Rivers" exemplifies the majestic and

intricate style typical of Northern Song Dynasty

landscape painting. Fan Kuan’s use of heavy

brushstrokes conveys the mountain’s solid weight

and texture. With techniques such as iron-wire-like

outlines and raindrop textures, the rocks appear vivid

and lifelike. The brushstrokes in the foreground are

bold and precise, while the lines in the middle view

suggest movement and continuity. the distant peaks

are rendered with lighter, more concise brushwork,

ensuring the painting retains balance and a sense of

progression. Another notable feature of Fan Kuan's

brushwork is his combination of points, lines, and

surfaces, which gives the painting structural stability

while maintaining dynamic variation. This mastery

allows him to demonstrate both the rugged strength

of the rocks and the smooth, flowing essence of

natural elements like clouds and water. His

brushwork shapes the complicated details of the

painting and reinforces its overall sense of power and

unity.

In addition to brushwork, Fan Kuan excelled in the

use of ink to add depth and atmosphere to the

painting. By varying ink intensity- from thick and bod

in the foreground to light and delicate in the

foreground- he creates a layered and immersive

effect. The trees and rocks in the foreground are

depicted with darker tones, while the distant

mountains and mist are rendered with softer, diluted

ink to evoke a hazy beauty. This interplay between

light and dark not only enhances the painting’s three-

dimensional quality but also creates a harmonious

balance between elements. Fu Kuan also utilized

layering techniques to achieve coherence with the

painting. He meticulously adjusted the shading of ink

to blend the mountains, rocks, and clouds seamlessly,

giving the landscape a unified and dynamic feel. The

clouds and mist extend the natural elements of the

scene, adding motion and vitality to the otherwise still

composition. Through these techniques, Fan Kuan

vividly captures the majestic and poetic natural

scenery in "Traveling in the Mountains and Rivers".

Figure 1: Traveling in the Mountains and Rivers.

Comparative Study of Western and Chinese Landscape Painting

427

4 ANALYSIS OF WESTERN

LANDSCAPE PAINTING

Landscape painting also occupies an important

position in Western art. Its origins in the East and

West often stem from its initial role as a backdrop in

portraiture, rather than as a standalone subject. For

example, in portraits such as Joséphine de

Beauharnais, Queen of Napoleon, landscapes were

secondary elements designed to emphasize the central

figures. However, with the rise of Romanticism,

landscapes gained prominence as independent

subjects. Artists began to use them as a means of

conveying mood, atmosphere, and emotion, shifting

the focus toward the authenticity and emotional

resonance of natural scenes.

With the tradition of Western landscape oil

painting, the contributions of three preeminent artists-

John Constable, Vincent van Gogh, and Claude

Monet- stand out as particularly transformative.

These artists, through their innovative approaches to

light, color, and composition, significantly shaped the

development of the genre and altered viewers'

interpretations of the natural world.

John Constable, a leading figure of the Romantic

movement, gained acclaim for his realistic depiction

of rural life in 19th-century Britain. One of his most

famous works, “The Hay Wain,” epitomizes his

dedication to capturing the serene beauty of pastoral

landscapes (Figure 2). The painting features a hay-

filled carriage crossing shallow, surrounded by lush

greenery and an expansive, cloud-filled sky.

Constable’s meticulous brushwork and vibrant use of

greens and blues create a fresh, tranquil atmosphere

that departs from the warmer tones typical of earlier

landscapes. He skillfully portrays the reflections in

water, the rippling waves caused by the cart’s motion,

and the changing patterns of sunlight on the clouds,

offering viewers an authentic and immersive

experience of rural England.

Figure 2: The Hay Wain.

Conversely, two renowned Impressionist artists,

Vincent van Gogh and Claude Monet, each

approached landscape painting with unique yet

compelling styles. Despite their differing artistic

choices, both used oil paints masterfully, harnessing

the interplay of color, light, and shadow to create

deeply evocative works. These innovative approaches

transformed the viewer's experience, offering a

nuanced perspective on nature through their unique

artistic lenses.

Van Goh’s The Starry Night, perhaps one of the

world’s most famous paintings, presents a mysterious

and dynamic depiction of the night sky (Figure 3).

The scene appears as if viewed from halfway up a hill,

with the swirling sky dominating the composition.

The dramatic movement of the stars and clouds,

seemingly caught in the whirlpool of wind, creates a

sense of cosmic energy and turbulence. Below, the

grass and trees appear similarly affected, yet the town

remains calm and undisturbed, its illuminated

windows symbolizing tranquility amidst the chaos.

Unlike John Constable’s meticulous realism, Van

Gogh employed bold and rough brushstrokes to

convey his emotional response to the scene. The

exaggerated forms and vivid contrasts between the

glowing stars and the darkened sky evoke a sense of

wonder, drawing the viewer into Van Gogh’s inner

world. Despite its departure from literal accuracy, the

painting resonates deeply, reflecting his profound

respect for the universe and his introspective thoughts

on life and existence.

Figure 3: The Starry Night.

As a groundbreaking impressionist artist, Claude

Monet excelled in capturing specific moments and

details of natural landscapes, transforming them into

evocative visual experiences. His famous “The Water

Lilies” exemplifies this approach, where he focused

on a serene pond rather than a complete landscape

(Figure 4). The viewer’s perspective is directed to the

water lilies of different colors, lotus leaves, and their

reflections on the calm surface of the lake. Monet’s

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emphasis on subtle changes in natural light and

shadow is masterfully conveyed through his sensitive

use of color and delicate brushstrokes. Over the

course of his career, he created approximately 250

paintings in this series, each capturing the tranquil

beauty and meditative atmosphere of the scene.

Through his unique vision, Monet invites viewers

into a peaceful, introspective encounter with nature,

presenting an alternative perspective to the grand,

panoramic landscape of traditional paintings.

Figure 4: The Water Lilies.

5 COMPARATIVE INSIGHTS

A comparative analysis of notable landscape

paintings from both Western and Eastern traditions

reveals distinct approaches to the portraying and

interpreting nature. Chinese landscape painting,

exemplified by Fan Kuan’s "Traveling in the

Mountains and Rivers," prioritized harmony between

humans and nature through its layered compositions

intricate brushwork, and refined use of ink tones. In

contrast, Western landscape painting, such as

Monet’s “The Water Lilies” and John Constable’s

“The Hay Wain”, uses a distinctive oil-based color

palette and a focus on light and shadow to evoke

emotional resonance and sensory realism. Despite

these differences, both traditions achieve profound

artistic value, offering audiences complementary

ways to experience and appreciate the natural world.

In "Traveling in the Mountains and Rivers," Fan

Kuan depicts the majestic scenery of northern China,

with towering peaks occupying the viewer’s focus.

The mountain forms layered visual structures, while

streams and merchants traveling on winding

mountain roads provide a narrative dimension. This

high-angle composition is combined with three-stage

layering (foreground, middle ground, and

background). enhances the painting’s depth and

spatial hierarchy, creating a sense of grandeur. By

contrast, Western landscape oil painting often

emphasizes the immediate, observable realism of

natural scenes. For example, John Constable's

“Licorice Cart” presents a vivid depictions of rural

life, capturing details such as streams, forests, and

lawns. The fresh and natural color palette conveys an

immersive and tranquil atmosphere, demonstrating

Western painting’s focus on realistic detail and

sensory engagement.

The brushwork in "Traveling in the Mountains and

Rivers" embodies the Northern Song Dynasty’s grand

and profound style. Fan Kuan uses heavy, precise

strokes to outline the lines and rocks, emphasizing the

natural weight and texture of the landscape. His “iron-

like” outlines and fine “raindrop” textures imbue the

painting with an intricate sense of detail and structure.

This combination of points, lines and surfaces creates

both stability and variation in composition. By

comparison, Western landscape artists, such as

Vincent Van Gogh, use bold and expressive

brushstrokes to emphasize mood and emotional

depth. For example, in “The Starry Night”, Van Gogh

employs swirling, exaggerated strokes to depict the

sky’s dramatic energy, contrasting sharply with the

calm town below. This expressive technique reflects

an emotional and subjective interpretation of the

natural world, prioritizing artistic vision over realism.

In "Traveling in the Mountains and Rivers," Fan

Kuan relies on ink tones to achieve depth and

atmosphere. By layering dry and wet ink, he creates a

dynamic interplay of light and shadow, bringing a

three-dimensional quality to the painting. The darker

ink highlights foreground details, such as trees and

rocks, while the lighter ink softens the distant peaks,

adding a sense of vastness. This subtle use of ink

reflects the Chinese tradition of pursuing an artistic

conception rather than strict realism. In contrast,

Western landscape oil paintings, such as Claude

Monet's "The Water Lilies" focus on capturing the

natural interplay of light and color. Monet’s

meticulous attention to changing light conditions is

evident in his vibrant and shifting color palette, which

conveys a sense of fluidity and tranquility. Both

conditions excel in their use of color to evoke distinct

emotional and visual experiences, rooted in their

respective cultural contexts.

The development of Chinese landscape painting is

Comparative Study of Western and Chinese Landscape Painting

429

deeply tied to traditional culture and philosophical

ideas. For example, Chinese art often emphasizes

harmony between humans and nature, reflecting

societal values of balance and coexistence. This stems

from the Taoist ideology which promotes the idea of

"the unity of heaven and man", meaning that man and

nature are in harmony, rely on each other, and

develop and promote each other. This makes Chinese

landscape painting convey the theme of man and

nature while expressing the natural scene, just like the

commercial journey slowly moving forward at the

foot of the mountain in "Traveling in the Mountains

and Rivers". In contrast, Western landscape painting

has been shaped by scientific advancements and

cultural developments, such as the discovery of

perspective, optics, and color theory. These

innovations enabled artists to depict nature with

unprecedented realism and detail, mirroring the West

’ s growing fascination with exploring and

documenting the natural world. This divergence in

social and cultural influences highlights the distinct

techniques and themes of Chinese and Western

landscape traditions, offering audiences diverse and

enriching artistic experiences.

6 CONCLUSION

In conclusion, through an in-depth comparison of

Chinese and Western landscape painting, this

research highlights the significant differences in

techniques, emotional expression, and social contexts

between the two traditions. The findings reveal that

Chinese landscape painting emphasizes structured

composition and layered hierarchies, focusing on the

nuanced interplay of ink tones and the overall design

to evoke a sense of atmosphere and artistic

conception. This approach reflects cultural

influences, particularly the philosophical values of

balance and harmony promoted by Taoist beliefs.

Western landscape painting, on the other hand,

prioritizes the interplay of light, shadow, and color,

delivering detailed descriptions of natural scenes.

These elements reflect the integration of religious

themes, scientific advancements, and cultural

developments in Western art.

This study not only deepens our understanding of

the foundational differences between Chinese and

Western painting traditions but also provides a new

perspective for fostering cross-cultural artistic

exchange and integration. Both traditions carry

distinct cultural identities and aesthetic values,

contributing to the rich diversity of human artistic

expression. In addition, this research underscores

the importance of mutual learning and innovation,

encouraging a dialogue between Chinese and

Western painting traditions that can further enrich

and, diversify global art culture.

Looking ahead, the ongoing acceleration of

globalization is expected to facilitate more frequent

and meaningful exchanges and integration between

China and the West. This study serves as a valuable

reference for future artists and cultural practitioners,

inspiring them to boldly innovate while respecting

their own artistic heritage.

By building on these shared insights, artists from

different traditions can collaborate to create a new

chapter in the evolution of art, one that reflects both

individual traditions and a shared global vision.

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