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Abstract：Western Marxist aesthetic theories pay attention to the description of objective entities and advocate the reproduction and imitation of nature with a scientific attitude. However，in Chinese traditional aesthetic theories，the artistic conception is put first，and the harmony between man and nature and the blending of scenes are advocated，instead of taking the description of similarity as the sole purpose，the likeness as the main one. Thereby creating a unique Chinese painting system. Today，with the rapid development of commodity society，the creation of Chinese painting is difficult. In the road of innovation of Chinese painting，many people have lost their way and forgotten their initial intentions. Studying western Marxist aesthetic theory is of great significance to the creation of Chinese painting，which may have unexpected effects in the creation of Chinese painting. This paper expounds the present situation of Chinese painting creation and the influence of western Marxist aesthetic theory on Chinese painting.
Keywords：Western Marxism，Aesthetic theory，Create
Western painting art，on the whole，tends to be in the optical sense，and is more full of geometric spirit and rational thinking. However，the use of color in the creation of Chinese painting has never been "naturalistic". According to the needs of the theme，Chinese painters are equipped with colors that increase their appeal. They dare to break through the inherent colors of "natural objects" and replace them with colors brewed in feelings. Chinese and western paintings are obviously different in color application and feeling. Chinese traditional painting uses ink to mix colors，rather than the three-dimensional and light-dark perspective with western painting. Chinese painting is to seek visual effects in many groups of contradictions，such as thick and thin ink，deep and shallow ink，light and thick ink. In ancient Chinese painting theory，ink has five colors：intense，heavy，light and clear;Ink is divided into six colors：black，white，dry，wet，thick and light. The effect of ink painting on psychological portrayal and emotional catharsis;Chinese scholars in pursue indifferent and quiet attitude towards life and aesthetic needs. Since the Tang Dynasty，great painters of all ages have been masters of ink painting，and historians of all ages have praised ink painting as superior. This so-called "carrying ink with five colors" and "washing away lead" has formed a gorgeous Chinese painting system from pure ink. At present，the radical era has passed，and more contemporary painters are quietly trying and exploring with the attitude of returning，continuing the exploration way of "tradition and life" in order to seek a new breakthrough in Chinese art. However，the old-fashioned and imitative phenomena are also emerging one after another，which hinders the progress of Chinese painting creation to a great.
Western Marxist aesthetic theory is of great significance in the creation of Chinese painting. First of all，Western Marxist aesthetic theory has formed ideological guidance for Chinese painting creation. Lukacs' realistic aesthetic theory is of great guiding significance to the realism in Chinese painting creation;The romantic aesthetic theory of Frankfurt School gives Chinese painting creators unlimited thinking;Sartre's existential aesthetic theory and the literary and aesthetic theories of Williams，Eagleton，Jameson，etc. are of great significance to the creation of Chinese painting.
Secondly，the western Marxist aesthetic theory has always been a model for China and even the world to learn in modern times，which is either a model or a good one，but it can be used as a forward direction to explore and guide the creation of Chinese painting. Scientific understanding of the existence of reality and nothingness and scientific reflection of the living conditions of people at the bottom or at the top are noble artistic creation practices. Practice is beauty. To a great extent，this emphasizes the beauty of the working people，which is a kind of praise，a kind of love and a process of psychological expression.
Thirdly，the western Marxist aesthetic theory points out the direction for the creation of Chinese painting. Whether realistic or anti-realistic，real or illusory，we can fully understand and associate from Marxist aesthetic theory. In fact，this process is also a process of creating and conceiving Chinese painting. When our brush falls on paper，this noble expression may become a new art form.
Is the combination of the character，self-cultivation，cultural precipitation and western Marxist aesthetics another direction？ The creation of Chinese painting is free，but freedom does not mean fooling around. In the process of creating Chinese painting，we must first have some knowledge or traditional precipitation. When our precipitation reaches a solidified state，it will be ignited by the western Marxist aesthetic theory，which is undoubtedly a great potential power of creation，and its guiding significance will play an immeasurable role in the present and future. The collision between Chinese and Western cultures，taking its essence and discarding its dross，makes the creation deeper and has a far-reaching influence on later generations.
References：
Da-Wei L I . Analysis of the Connotation of Minority Historical Novels in Marxist Aesthetic Image——Taking the Novel Aruwan as an Example[J]. Journal of Mudanjiang University，2018.
Kellner D . Brecht's Marxist Aesthetic[J]. Socialism & Marxism.
Rowley G . Principles of Chinese painting[M]// Principles of Chinese Painting. Princeton University Press，1960.
Jiang S，Gao W，Wang W . Classifying traditional Chinese painting images[C]// Information，Communications and Signal Processing，2003 and the Fourth Pacific Rim Conference on Multimedia. Proceedings of the 2003 Joint Conference of the Fourth International Conference on. IEEE，2003.
（作者單位：齐鲁工业大学（山东省科学院））
Keywords：Western Marxism，Aesthetic theory，Create
Western painting art，on the whole，tends to be in the optical sense，and is more full of geometric spirit and rational thinking. However，the use of color in the creation of Chinese painting has never been "naturalistic". According to the needs of the theme，Chinese painters are equipped with colors that increase their appeal. They dare to break through the inherent colors of "natural objects" and replace them with colors brewed in feelings. Chinese and western paintings are obviously different in color application and feeling. Chinese traditional painting uses ink to mix colors，rather than the three-dimensional and light-dark perspective with western painting. Chinese painting is to seek visual effects in many groups of contradictions，such as thick and thin ink，deep and shallow ink，light and thick ink. In ancient Chinese painting theory，ink has five colors：intense，heavy，light and clear;Ink is divided into six colors：black，white，dry，wet，thick and light. The effect of ink painting on psychological portrayal and emotional catharsis;Chinese scholars in pursue indifferent and quiet attitude towards life and aesthetic needs. Since the Tang Dynasty，great painters of all ages have been masters of ink painting，and historians of all ages have praised ink painting as superior. This so-called "carrying ink with five colors" and "washing away lead" has formed a gorgeous Chinese painting system from pure ink. At present，the radical era has passed，and more contemporary painters are quietly trying and exploring with the attitude of returning，continuing the exploration way of "tradition and life" in order to seek a new breakthrough in Chinese art. However，the old-fashioned and imitative phenomena are also emerging one after another，which hinders the progress of Chinese painting creation to a great.
Western Marxist aesthetic theory is of great significance in the creation of Chinese painting. First of all，Western Marxist aesthetic theory has formed ideological guidance for Chinese painting creation. Lukacs' realistic aesthetic theory is of great guiding significance to the realism in Chinese painting creation;The romantic aesthetic theory of Frankfurt School gives Chinese painting creators unlimited thinking;Sartre's existential aesthetic theory and the literary and aesthetic theories of Williams，Eagleton，Jameson，etc. are of great significance to the creation of Chinese painting.
Secondly，the western Marxist aesthetic theory has always been a model for China and even the world to learn in modern times，which is either a model or a good one，but it can be used as a forward direction to explore and guide the creation of Chinese painting. Scientific understanding of the existence of reality and nothingness and scientific reflection of the living conditions of people at the bottom or at the top are noble artistic creation practices. Practice is beauty. To a great extent，this emphasizes the beauty of the working people，which is a kind of praise，a kind of love and a process of psychological expression.
Thirdly，the western Marxist aesthetic theory points out the direction for the creation of Chinese painting. Whether realistic or anti-realistic，real or illusory，we can fully understand and associate from Marxist aesthetic theory. In fact，this process is also a process of creating and conceiving Chinese painting. When our brush falls on paper，this noble expression may become a new art form.
Is the combination of the character，self-cultivation，cultural precipitation and western Marxist aesthetics another direction？ The creation of Chinese painting is free，but freedom does not mean fooling around. In the process of creating Chinese painting，we must first have some knowledge or traditional precipitation. When our precipitation reaches a solidified state，it will be ignited by the western Marxist aesthetic theory，which is undoubtedly a great potential power of creation，and its guiding significance will play an immeasurable role in the present and future. The collision between Chinese and Western cultures，taking its essence and discarding its dross，makes the creation deeper and has a far-reaching influence on later generations.
References：
Da-Wei L I . Analysis of the Connotation of Minority Historical Novels in Marxist Aesthetic Image——Taking the Novel Aruwan as an Example[J]. Journal of Mudanjiang University，2018.
Kellner D . Brecht's Marxist Aesthetic[J]. Socialism & Marxism.
Rowley G . Principles of Chinese painting[M]// Principles of Chinese Painting. Princeton University Press，1960.
Jiang S，Gao W，Wang W . Classifying traditional Chinese painting images[C]// Information，Communications and Signal Processing，2003 and the Fourth Pacific Rim Conference on Multimedia. Proceedings of the 2003 Joint Conference of the Fourth International Conference on. IEEE，2003.
（作者單位：齐鲁工业大学（山东省科学院））