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Color is rich in expressiveness and symbolism, which enables the communication between the artist and the audience. Chinese painting and Western oil painting have their own distinct characteristics in the color of the painting. In different stages of historical development, the concept of painting color and the application of painting color are different. Under different cultural backgrounds, colors have different connotations. The differences in color application between Chinese and Western paintings are discussed in terms of color culture, color expression form, and color application. 1. Differences in Color Culture between Chinese and Western Paintings Chinese painting is an independent and unique system. It is an important part of Chinese traditional culture with a long history. Chinese painting fully embodies the wisdom and wisdom of the Chinese nation, and fully demonstrates the Chinese people's skill in depicting nature, reflecting the author's deep thinking on nature and the universe. In China, records of color were first seen in the book. In terms of theoretical research, the most famous book of Chinese painting is Zhou Li Dong Guan, which interprets the application of blue, red, white, black and yellow in terms of ancient Chinese culture. In the West, the pioneering father of color theory was Aristotle of ancient Greece. Regarding color, he believes that white, black, and yellow are independent basic colors, and other colors are either between these three colors or they are generated by mixing these three colors. In China, red is auspicious. For example, at a wedding ceremony, a new man wears a big red flower. This is a symbol of love and happiness, and it also expresses a happy and auspicious atmosphere. White is a sad color. In traditional funerals, the color is dominated by white. Yellow is a symbol of power. In Western culture, it is advocated that red is used to represent cruel and bloody and unclear things. For example, in the bullfighting culture of Spain, the bullfighter irritated the cow with a red cloth and raised the wonderful scene of bullfighting. White represents elegance and purity. In Chinese paintings, unlike the western paintings, light and shadow are not emphasized, but are expressed in the same hue. Due to the natural connection between wood and charcoal, charcoal black has become the dominant color of Chinese color concept. These black and white colors show before us a color world centered on solid colors. Sometimes Chinese paintings use only the halo and shade of ink to express all natural objects. The shade of ink is not meant to represent light and shadow. In the meantime, the ink contains all the colors. The black and white of Western paintings appear purely as black and white, while black and white in Chinese ink painting are the embodiment of all colors of objects. For Europeans with white races, there is no whiter color than marble. They have made the white marble the ideal monochromatic world. This has become their tradition. On the other hand, they also began to like the colors of various stones such as opal, sapphire and emerald. Red, blue, yellow, green, purple, white, black, and other colors have gradually entered the West as a way to convey the mystical color language of Christ. 2. The Differences in Color Expressions between Chinese and Western Paintings The tools and materials used in the Chinese landscape paintings mainly use the four treasures of ink, rice paper and other texts, and their line shapes are another major feature. Western landscape 2018 2nd International Conference on Social Sciences, Arts and Humanities (SSAH 2018) Copyright © (2018) Francis Academic Press, UK 236 paintings are mainly based on oil painting materials, and their images emphasize light and dark light to create a space atmosphere. The traditional poetry, calligraphy and painting of Chinese traditional paintings complement each other. Each part of poetry, calligraphy, painting and printing is the main chapter of the composition diagram. In doing so, on the one hand, calligraphy and painting can be matched with each other with the same line art; on the other hand, the meaning of explicit expression is borrowed and the poetic imagery on the screen is emphasized. This style of using calligraphy poetry and Zhu Hong seal to complement the effect of the screen forms a unique tradition of Chinese painting art. This is something that Western painting does not have. The large gaps in the composition of Chinese landscape paintings have the effect of “virtual”, and their understanding should be the treatment of “real”. This concept of “emptiness” in Chinese landscape painting is a reflection of oriental philosophy and aesthetic concepts in the picture, and it is also a representation of art. Fang Xun of the Qing Dynasty once said: "The so-called painting method is between the actual and the actual." Virtual and real, that is, opposite and unified, "real" is relative "virtual" in terms of, "virtual" is born from "real" Constitute an aesthetic whole. "The white in the picture, that is, the picture in the painting, that is, the picture outside the picture," can completely make people feel the scene of the blank place and the implicit artistic conception through the picture. This "virtual" method of writing "real" paintings and the reality of traditional Chinese opera scenes and props simplify the appearance of a common thread. Western landscape painting simply does not allow this treatment to appear on the screen. From this point of view, Chinese traditional paintings seem to be more ingeniously aware of the essence of art. 3. Differences in the Color Perception between Chinese and Western Paintings In the period of primitive society, due to limited conditions, Chinese and Western paintings were expressed in simple colors. This monotonous concept of color contributed to the simplicity of the Chinese and Western paintings in this period. However, the difference is that the color of Chinese paintings during this period was relatively simple. In the large number of rock paintings that appeared during this period, basically almost monochromatic objects were expressed in monochrome, and the form of expression was also flat. The color expression of western paintings appeared in this period was not the same, the colors were relatively abundant, and a variety of hues were diversified and simple stereotypes were formed. Tonal changes also basically formed. In the development of the complexity of the Chinese painting's color, the hue of the painting is richer, but the expression of the painting is still limited to the use of plane as a simple expression. During this period, the color of Western oil paintings showed two trends: some of the expressions of paintings used more simple colors to construct the images of the works. The other part of the painting is based on realistic color expression. When Chinese painting is dominated by the color palette of ink, western paintings are rendered in a three-dimensional, light-dark perspective. Chinese painting is good in ink, and Western painting is good at color. Chinese painting is a model for the use of Chinese painting colors, and it is often replaced by ink. With the changes of ink, dark ink, light ink, dry ink, and wet ink, to express the texture, light, color, and space of objects, people stand before a picture of ink and wash, but they do not see beautiful colors. You can think for a thousand years and have a heart-felt journey. For example, the depiction of geisha dancers by the famous South Korean painter Gu Kaizhong in the Five Dynasties period is enough to illustrate this point, that is, the late meticulous paintings also pay attention to moisturizing and natural effects. Western painting emphasizes the use of color and is good at using color to express the color, quality, light, shape, and space of objects. It is rich in color and natural, beautiful and moving, and makes people feel at home. Western oil paintings are mainly composed of shades of light and shade. Oil paintings use light, shadows, and layers of colors to vividly depict the delicate color changes of the characters' skin and make people feel the flowing blood under the skin. Objects in the shadows or shadows produce a stable, deep sense of volume and space, increasing the saturation of the color of the picture. Oil paintings use light and shadow rhythm as their formal beauty features, pursuing a sense of reality, three-dimensionality, rhythm, and light and shade. The concretion of light is color, and color is not only the most important styling

A Comparative Study of Color Application between Chinese Painting and Western Painting