Analysis of the Twin Relationship between lVisual Schema Languager and Painting Art
In this paper, the development and current situation of "painting art" and "visual schema language" are briefly described with time as the clues, and comparisons are made from a variety of perspectives. The results show that in spite of the close relationship, their ontological significance and development direction are different. The visual schema language and the painting art are used as a metaphor "twin" in this study. It means that they are confusing but actually different, and they have different specific directivity, application functionality, and derivative scope. Clarification of the relationship will help develop the related disciplinary systems and even construct a new disciplinary system. This paper elaborates on the following three aspects. Explanation of "Painting Art" Since the 20 th century, art forms have coexisted in multiple ways. After the existing art forms and various concepts, materials, technologies and other elements have been continuously merged and collided, new art theories and forms have been derived such as performance arts, science and technology arts, digital arts, installation arts, concept arts. "Art" was once defined by others, yet it is now difficult to define "art" because the art that is happening or is about to happen often goes beyond the scope of the previous scope of definition. With the development of the times, the concept of art is constantly being broken, and the boundaries of art have also been continuously expanded and broadened by artists. The development of "painting art" is synchronized with the development of artistic concepts, because "painting" is only one of many forms of art. The birth of "painting art" dates back to hieroglyphs. The separation of "schema and Chinese characters" makes painting a special art form. In the evolving historical process, the forms, materials and functions of painting art have also changed accordingly. Different from the history of Chinese painting art, the ideological and cultural movement prevalent in Europe in the 14 th and 17 th centuries directly affected the development of painting art. Originally, the painting art replaced the old theology form with scientific visual analysis, and the painting art function went from serving religion to singing about human nature. In the 17 th and 18 th centuries, Galileo, Copernicus and other scientists' studies on the celestial bodies of the universe disrupted the theological system of genesis, and the geographical discovery driven by new route made art and science together became an important way of thinking and civilization, triggering the generation of the post impressionism, Cubism, Expressionism, Dadaism, Fauvism in the context of the Second Industrial Revolution. In the middle of the 20 th century, the "art" form was not only reflected in the combination with science and technology but also in the combination with philosophy. For example, the emergence of "conceptual art" led to a great transformation or even a qualitative change in the traditional concept of painting art. In the early 21 st century, information technology was highly developed, and the Chinese and Western cultures were deeply integrated. The concept of pluralism in the "painting art" is unprecedented. Some scholars believed that Chinese painting was a dead end, whereas others insisted that thoughts and concepts were weapons to defend the existence of painting. The author believes that under the combined forces of artistic concepts, science and technology, philosophy, history and other disciplines, the contemporary and future "painting art" can generate a variety of 8th International Conference on Education, Management, Information and Management Society (EMIM 2018) Copyright (c) 2018, the Authors. Published by Atlantis Press. This is an open access article under the CC BY NC license (http:/creativecommons.org/licenses/by nc/4.0/ Advances in Social Science, Education and Humanities Research, volume 250