The Mutual Construction of Chinese and Western Artistic Concepts An Innovative Path of Contemporary Ink Space Aesthetics Based on Phenomenological Interpretation

Abstract

In the context of globalization, Chinese and Western art have shifted from one-way borrowing to two-way dialogue. Traditional ink-wash art is not only under the pressure of modern transformation but also has the opportunity to integrate with Western art concepts. This article takes phenomenology as an interpretive tool and, through core methods such as “reduction”, “intuition”, and “intersubjectivity”, dissects the conceptual differences between the “artistic conception space” in traditional Chinese art and the “formal space” in Western modern art, and analyzes the commonalities and mutual construction possibilities at the perceptual level between the two. Research has found that the mutual construction of Chinese and Western artistic concepts is not a simple integration, but rather based on the phenomenological principle of “returning to the essence of things”, activating the physicality and sensibility of the ink-wash medium, and thereby breaking through the stylized bottleneck of traditional ink-wash space. Ultimately, three innovative paths, namely “integration of artistic conception and form”, “intervention of body and perception”, and “translation of tradition and contemporary”, were proposed, providing theoretical support and practical directions for the development of contemporary ink-wash spatial aesthetics.