Abstract

In this paper, two bits are forced by the political situation in the self-imposed exile outside of the ink at home: cultural nationalists Chang and without high conduct health advocates as an example, points out their cultural globalization and China's traditional culture, the response to the difference. View their arts East and West fields of different interpretations of what the arts field and from the pursuit of relief under limited magnitude and methods, to understand the art of the East-West exchange of the bounded domain problem. Chang's "new paintings" by the Western artistic influences, advocating open our hearts to accept Western art. Although he absorbed elements of Western art is not much, but this claim has Gain in ink to Western learning and innovation. Health consider themselves high out ink is a "mind like a picture." "Another aesthetic" and advocated "the ink dissolved the East and West." "There is no doctrine" that there is no tradition, no wave tube, draw their own picture. This domain trying to cross the Western art world, it is a very real way to escape. This paper attempts to explore the merits of two Chinese painters, Cultural Nationalist Chang Da-chien and "No-ist" Gao Xing-jian , who both left China and went through self-exile under the political pressure in the second half of Twentieth century, so as to reveal their different responses to Western cultural impacts and to the interaction between East and West promoted by the universal cultural industries. Research should be the approach to find the different ways to facilitate the development of Chinese painting in the process of cultural globalization. Based on the findings of two cases, the paper argues that Chang and Gao had different responses when coping with the problems occurred by Western cultural impacts. They chose different ways to preserve of Chinese painting traditions. Together, their efforts to reconstruct Chinese painting provide alternative modes for the continuity and regeneration of Chinese painting. In conclusion, Chang Da-chien and Gao Xing-jian, both return to the spirit of Chinese painting and lead new trends of Chinese ink-wash painting, but they respond to the process of cultural impacts in different ways. Chang's works play a role to connect the popular aesthetics, an expression of natural and physical enjoyment, with the pure aesthetic disposition of the upper class, an attention to form or style rather than function or content. From this point of view, Chang mixed with sophistication traditional literati painting and contemporary professional painting . In pursuit of pure aesthetics, Gao searched the "aroma" and the "emptiness" to provide the inspiration of his ink-wash painting