Methodological Commensurability Those arguing for radical incommensurability — the view that the questions and answers in one tradition cannot sustain meaningful statement in the other tradition — rely on the recognition of radical difference in basic concepts and modes of inquiry. Given such radical differences, they argue, there can be no cross-traditional reference to a common subject matter and to a truth about that subject matter that is independent of the basic conceptual vocabulary and theories and justificatory practices of a particular tradition see Rorty,and Shweder,
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This article has been cited by other articles in PMC. Abstract Western and Chinese artists have different traditions in representing the world in their paintings. While Western artists start since the Renaissance to represent the world with a central perspective and focus on salient objects in a scene, Chinese artists concentrate on context information in their paintings, mainly before the midth century.
We investigated whether the different typical representations influence the aesthetic preference for traditional Chinese and Western paintings in the different cultural groups. Traditional Chinese and Western paintings were presented randomly for an aesthetic evaluation to Chinese and Western participants.
Both Chinese and Western paintings included two categories: Results showed a significant interaction between the source of the painting and the cultural group. For Chinese and Western paintings, a reversed pattern of aesthetic preference was observed: We interpret this observation as indicator that personal identity is supported and enriched within cultural belongingness.
Another important finding was that landscapes were more preferable than people in a scene across different cultural groups indicating a universal principle of preferences for landscapes.
Thus, our results suggest that, on the one hand, the way that artists represent the world in their paintings influences the way that culturally embedded viewers perceive and appreciate paintings, but on the other hand, independent of the cultural background, anthropological universals are disclosed by the preference of landscapes.
Western and Eastern artists tend for instance to use different perspectives to represent the visual world, both in the geometric and in a metaphorical sense.
Viewers from different cultures and social groups may have distinct aesthetic experiences to the same visual displays Palmer et al.
Cultural differences might explain why beauty is attributed to some things, but not to others Jacobsen, Aesthetic processing can only be understood, if it is also seen as being embedded in cultural contexts and being modulated by social conditions.
Unlike Western painters who since the Renaissance tried to create an exact view of a visual environment, Chinese painters never developed a notion of space as a measurable geometrical entity by developing mathematical rules to organize space and create precise spatial relations Delahaye, Instead, the Chinese outlook emphasizes a dynamic structure for human relations with the environment, even with the universe, independent of exact physical representations or the proper imitation of objects Sullivan, ; Cameron, Pictorial perspectives employed in Western and Chinese paintings are, thus, fundamentally different.
Western painters tried to create an exact view of what they see or what they believe to see ; the geometric perspective was developed to create the illusion of three-dimensionality by means of a single-point or convergent perspective Kubovy, It should, however, be pointed out that the central perspective in Western art is already an abstraction Worringer,and it is not at all a geometrically correct representation of what we see.
This neural operation in the early visual pathway Zhou et al. Thus, the different trajectories of abstraction in the Eastern and Western cultural environments have created unique conceptual frames. Chinese painters have employed specific ways of emphasizing spatial information compared to Western painters.
Besides a typical arrangement of spatial information in a vertical manner i. The distinctive characteristics of parallel projections is that lines parallel in fact are also parallel in the drawing.
The angles of these obliques are coherent throughout the plane Tyler and Chen, Moreover, Western artists are inclined to capture a specific moment in a visual scene and fix the physical position of the viewer.
In contrast, when looking at a Chinese landscape painting, there is no distinct point to guide viewers. The Chinese outlook has a dynamic quality that integrates successive time windows Bao et al.
The central perspective in Western art with its misunderstood geometrical law represents an external point of view, and it is characterized by its own aesthetic values; the visual world is expanding in front of the eyes of the viewer Ich-Ferne. Other than implied by Masuda et al.
The multi-layer perspectives can be considered to simulate a three-dimensional space resulting in a virtual circle or ellipse vertical to the picture; within this imaginary circle or ellipse the viewer becomes part of the scene depicted in front of the eyes.
Another interesting difference with respect to perspective in a more general sense is related to the pictorial subjects of Western and Chinese paintings.ANALYSIS OF DIFFERENCES BETWEEN CHINESE AND WESTERN SPORT PHILOSOPHY evolutionism and the research on sports by medical scientists, sports .
Aesthetic differences between Chinese and Western Poetry —critics on Xu Yuanchong’s Chinese poetry translation 1 Introduction Nowadays in China, there are mainly two kinds of different opinions on translating classical Chinese poems.
Transcript of Aesthetic comparison between China and the West. What is Aesthetics? Chinese traditional garden is the best space where people can have the highest enjoyment of Chinese aesthetics Western traditional gardens, on the contrary, give a sense of grandeur by articulating everything in a glance.
Z.H. (). The Chinese. On the contrary, most foreigners seem to prefer Chinese girls with slanted, narrow eyes and eyebrows, In China, 细长眼睛 xì cháng yǎnjing slim eyes with 单眼皮 dān yǎn pí single-fold eyelids are seen as not beautiful at all, so it seems that when it comes to eye-shapes, Western and Chinese beauty standards don’t see eye to eye.
There are many differences in Eastern and Western religions that are fitting to different people across the world. The commonality is that there is faith of some form in the belief that there is religion among people. "Difference Between Eastern Religions and Western Religions." kaja-net.com The Differences and Reasons of Food Habit between Chinese and Western Jiahui Sheng San Francisco State University HTM Abstract Currently, with much more frequent culture exchanges between Chinese and Western, people from different countries have more and more opportunities to meet new friends with different religions.