CASCultural and Arts Studies3083-39573083-3949Bio-Byword Scientific Publishing Pty. Ltd.10.26689/CAS.v2i3.16136ArticleA Comparative Study of Aesthetic Ontology Theories from the Perspective of Divergent Visual Concepts in Chinese and Western Arthttps://artdesignp.com/journal/CAS/2/3/10.26689/CAS.v2i3.16136PanYongnan2026232026-06-30This paper conducts a comparative study of the theory of artistic ontology from the perspective of the differences in visual conceptual frameworks between China and the West. By tracing China’s imagery tradition of “capturing the spirit through form” and the Western representation tradition of “imitating nature,” this study analyzes the essential differences between the two traditions across three dimensions: visual cognition, formal language, and aesthetic aims. The research demonstrates that the theories of artistic ontology in China and the West are rooted in their respective philosophical soils and cultural contexts, exhibiting systematic distinctions—such as the contrast between scattered perspective and focal perspective, between brushwork/ink lines and color/lighting, and between the harmony of heaven and humanity and the subject-object dichotomy. This comparative analysis contributes to deepening the multifaceted understanding of artistic ontology and provides a theoretical reference for the construction of contemporary art theory and cross-cultural dialogue.Image concept, Artistic ontology, Capturing the spirit through form, Imitation theory, Comparative study

[1]   Gong W, 2026, Understanding the Exchange of Chinese and Western Arts and Crafts During the Tang Dynasty Through the Lingyang Gong-Style Examples. Beauty and the Times (China), (7): 113–120. [2]   Yang G, Wang X, 2026, Integrating Chinese and Western Artistic Concepts and Pioneering New Educational Approaches – The Core Ideas and Practices of Lin Wenzheng’s Art Education. Art Observation, (5): 111–114. [3]   Yang B, 2026, Haojing Yanyun: Macau During the Qianlong Dynasty in Chinese and Western Paintings. Shucheng, (5): 49–57. [4]   Jiang Q, 2026, The Symbiosis of Embracing the Dao and Seeking Knowledge: The Philosophical Foundations and Complementary Logic of Chinese and Western Art Theories. Journal of Tianjin Academy of Fine Arts, (1): 78–83. [5]   Zhang F, 2026, The Facets, Fate, and Implications of the Kang-Qian New Painting Style in the Context of Sino-Western Interaction. Southeastern Academic Journal, (1): 224–235. [6]   Yang C, 2025, Research Methods and Approaches in the Study of Artistic Image Communication – A Review of Archaeological Discoveries and Sino-Western Cultural Exchange. Educational Development Research, 45(7): 2. [7]   Yang D, 2021, An Example of Sino-Western Artistic Exchange in the 18th Century: A Comparison Between Gusu Printmaking and the “Almanac” Images in European Still Life Paintings. Folk Art, (6): 26–31. [8]   Zeng X, 2021, “Visual Art Education” and “Aesthetic Education” and the Modern Transformation of Chinese Fine Arts. Aesthetic Education, (2): 18–29. [9]   Gong C, 2021, Integrating Chinese and Western Painting in My Own Practice – Chen Shizeng, a Master of Traditional Chinese Painting. China National Ethnic Culture Review, (4): 27–39, 26, 218. [10] Zhang Y, Zhang Y, 2019, Exploring the Differences Between Chinese and Western Painting Theories Through the Study of Julien's Nudity View. Journal of Dali University, 4(7): 67–71.