HISTORICAL STUDY OF THE CONCEPT OF «MUTUAL UNDERSTANDING OF ART» IN CHINESE AND WESTERN PAINTING OF THE XX CENTURY

Until the 20th century, Chinese figure painting and Western figure painting were considered to be two very different systems of painting, whether in terms of the evolution of painting history or in terms of guiding ideology, painting disciplines, genres, and the artists themselves. In terms of research history, until the 20th century, each exuded a very strong regional culture. As typical representatives of Eastern and Western painting art, the Asian and European continents have never stopped researching the history of art in these two continents since the beginning of the exchange of trade, especially the two continents simultaneously occupy an important position and have special records of image symbols. Significant figure drawings have been the main objects of study of major historians since the study of the image of symbols. But an interesting phenomenon is that the history of painting before the 20th century was focused on the study of the differences between two paintings. Since the 20th century, due to frequent economic, political and cultural exchanges, countries in Europe and Asia began to study Chinese and Western painting. The rise of knowledge, especially in traditional Chinese ink and ink painting and Western traditional oil painting