An Analysis of Chinese Artists’ Formative Language Using From Deleuze's Perspective

Abstract

This study draws on the ideas of the French philosopher Deleuze to analyse the formative language in the work of contemporary Chinese artists, with a view to providing some support for the reasons for the changes in the formative language of current artists and their future possibilities. The boundaries between Chinese and Western painting were originally distinct, but from the late 19th and early 20th centuries onwards, the two different arts borrowed from each other and used each other as a tool to break through their bottlenecks, and the outward formative language of both sides has changed dramatically since then. In the 21st century, Chinese society and Chinese culture are facing enormous changes, and this era of opportunity and challenge has led to a new round of discussions in China about the relationship between Chinese and Western culture and art. How to dialectically resolve the contradictions between East and West, tradition and modernity in order to create a new era of Chinese contemporary culture and art has become an inescapable issue for Chinese artists in creating their own formative language.

This study begins with a brief analysis of the importance of formative language for artists at the present time, the development of the border between Eastern and Western art, and the role of Deleuze's philosophical ideas in driving the current art scene. In the second stage, through Deleuze's philosophical ideas on the reinterpretation of art, the study analyses several symbols of formative language commonly used by contemporary artists and the rationale for their role, in relation to the works of contemporary Chinese artists. In this way, we can see that philosophers such as Deleuze have made profound philosophical reflections and differential readings of contemporary art, and in doing so have broken down the inherent limitations and intrusions of tradition, offering many insights and guidelines to many artists, including Chinese artists, in resolving the crisis of sameness that they may encounter on their artistic journey.