Different Understanding about the Other Shore : the Introspection Study on Chinese and Western Art under the Natural Disaster

No matter what the different cultural backgrounds are, they will always collide and generate divergence on the same point of intersection and then continue moving forward in the direction of collective cognition. At present, the global world is facing severe pestilence disasters; China Art Circle made many responses immediately at the beginning of the epidemic situation and tried to fight the epidemic situation, encourage the front-line medical staff and provide energy for them. However, when the epidemic situation in China trends to calm, the art theme about the epidemic situation also suddenly keeps silent. It looks like calm without great waves; however, through investigating Western art, it is found that the Western Art Circle has different orientations on the attitude to disasters; considering its inner core, it maps the further understanding of groups with different cultural backgrounds on the cognition of other shores of lifedifferent life and death idea influence the social outlook, view of life and expectation of life fate of different groups. Meanwhile, they also promote the society to show different introspection paths while facing disasters. The study uses empirical analysis to identify and collect the image information from classical paintings of the East and the West. The results show that compared with Western art, Chinese art conveys a message that focuses more on maintaining the country's stability.


Introduction
Art cannot directly turn around the track of natural disasters-certainly, it is not the responsibility of art; however, art is undoubtedly helpful for us to change our attitude to natural disasters. Art and society are like two sides of metal fragments that cannot be separated. Art cannot be separated from social life in that literature has the power to express and imagine pain and oppression or everything about an imbalance in social life (Askar, 2021). The creation of Chinese and Western Art shows different thought directions while facing disasters. At present, global people suffer from the epidemic situation, and through art, whether the public could recognize the disaster, scientifically overcome the disaster and do deeper thinking from a wider view to promote harmonious social order in the future, promote the society to a healthier and more orderly direction is the mission of art. In China's current diversified art form (especially the art form mainly includes easel art), art expression is influenced by many factors, which cause its track to be different from the expression of Western art. There is the deviation of gene inheritance of different nation blood, which brings a different attitude to the epidemic situation and makes introspection and introspection. This process naturally has transcendence, insufficient, and defects.

Understanding about Disasters
Looking through history, the living environment of human beings is always together with the about previous events deeply. That is to say, art also carries its valuable potential energy in disasters, not the narcissistic Soratani Orchids, and disaster culture is also a self-rescue culture for the human to survive is essential (Tang, 2011). The description of disasters is also the "culturalization" of disasters, and it transfers the destructive power of nature to the social culture as the energy of art creation (Zhang & Song, 2018, p.160).
At present, the Covid-19 transmits all over the world, and the epidemic situation threatens life.
At the beginning of the epidemic, the invisible enemy, like a ghost, brought a scared psychological shadow to the public. But as time flies, viral spreading gradually trends to preventable, controllable and curable, so the virus is not mysterious and scary. But we shall note that, even like this, the global world still faces a rigorous epidemic situation.
Compared with the psychological change brought by the epidemic situation from the random expansion to the controlled condition to people "scared-optimistic," China Art Circle also changed greatly. At the beginning of the epidemic situation, all local atheneum, communities, colleges, and universities actively organized art exhibitions related to the epidemic situation (most of them are online exhibitions). At that time, all people could find through the internet that some famous Chinese infectious disease experts were just like avatars, and they fought against the virus by several unimaginable means. Many kinds of art creations emerge with a blowout manner, including many works with low art levels and without corresponding thinking, but Chinese people did not care about this. These works had the same topic-"win the virus." At that time, the artistry of artworks became unimportant. Even if they are images and literal works, if their directions were correct and had image and transmissibility, they could be referred to as "art" (see Figure 1 ，Figure 2). The cognition of human beings on death exhibits the colour of keeping up with the times with the development of times and transition of traditional regional culture, which enables the attitude and thought of human beings while facing disasters to change continuously, just as it is described by Cassirer in An Essay on Man that, the estrangement of different fields does not make changeless, and changes with the paroxysmal external change (Cassirer, 1985, p.104). In the history of the world, the enforcement of the funeral policy of a king, the new explanation of a school of philosophy, a heroic act representing the collective consensus and giving up the opportunity of survival, and so on, are causing the public to express their views on death. Therefore, when the public face the death threatens brought by disasters, their thoughts also change gradually. Facing the Chinese and Western cultural backgrounds, they own similar feedback while facing disasters, but there is some difference between the agent and expectation of introspection; Eastern culture emphasizes more of a collective idea of "entry the world", more wills to treat the relationship between people and between the people and the collectivity.
On the contrary, western civilization trends to the individual idea of "birth", trends more mapping the behaviours in the world as chips to the position of the other shore.

Cultural Difference Reflected by Two Senses of Heroes.
Art is a mirror of reality, and as the prelude of art practice, the thought enables Chinese and Western Art to take the mastering position in the Eastern art using the different formulation, collective belief and honour; however, in Western art, no matter the religious art of the Middle Ages or the Modernism art, they prefer to express an individualized and perfect ideal body weight, it often likes this even if in a grand narration theme. But such a phenomenon is rooted in the difference of the cognition of Eastern and Western publics on "heroes" (under the Western cultural background, it is more suitable for here to be referred to as "the Saviour").
It is undeniable that heroes play a critical role in the advancement and transformation of society: on the one hand, they change the objective world through their strong practical ability; on the other hand, they influence their followers through their unique spiritual charm. Chinese and Western views on heroes are influenced by different histories and shaped into different spiritual orientations: to be exact, the understanding of Chinese people about heroes since ancient times is an idealized collective consensus rather than a specific natural figure; on the contrary, western people are more sure that a specific figure has played a role in promoting the process of history.
Compared with the heroes created in the Western, Chinese heroes have different meanings.
Chinese heroes have morally oriented preaching significance, perfectionist characterization method, the experience of tragic tendency, the colour of depersonalization, and praise message given by official rights. On the other hand, the Western views of heroes show the characteristics of individuation (even defect), life supremacy, independence and folk (Li,2012). In conquering disasters, it is easy to achieve outstanding contributions, be remembered by the public and rise to the heroic height of saving the collective. The perfect image of Chinese heroes has a certain ideal colour. This is because heroes should not have flaws. Otherwise, they will be considered as the However, there is a deviation between the official and public heroes in their cognition and needs.
Excessive deification and elevation of the heroes images make the public misunderstand the heroes, which easily lead to a result that the heroes have no themselves but are a kind of heroes with an embodiment of collective honour and disgrace. Although a Chinese hero appears in the name of a character, it is not a specific name, a title or a story, but trust in the collective interests and rights and the will to safeguard the country. Therefore, when a disaster occurs, the object that the public expects is not personal power to turn the world around but an abstract body of benevolence and morality to redeem. It is a trust in the collective and the country to attach this ideal and belief to one or several special people because, for a long time, the official always represented an ideal moral paradigm.
In contrast, in the process of hero shaping in the west, because of its distinctive characteristics of populism, personalization and independence, every citizen thinks that heroes are born around him, and even he can become a hero. Therefore, when a disaster occurs, the public tends to rely on his own strength to maintain practical interests, which requires everyone to have an individual personality when facing emergencies. It is not difficult to find cases in Western literary works with accurate judgment and timely and effective response-ability. In short, in the face of disaster, Chinese people are more likely to obtain inner peace, which has a certain subjective colour, because the Chinese people will think that behind them stands collective protection, so Chinese heroes often come from extraordinary origins; At the same time, in the west, it is easier to activate the strength of each unit, and then promote the emergence of "civilian" heroes.

Information Hidden in Chinese Disaster Art
There is a deviation in the judgment of heroes, which makes the direction of artistic expression different. Facing a disaster, Chinese and Western artists think in different directions. It is not difficult to find that catastrophic narrative has been in the state of "absence" for a long time in Chinese Art. Even if there is a description of a disaster, it is often from the perspective of the upper class overlooking the masses at the bottom. This is different from western art. In Western art, people's powerlessness is reflected by describing the destructive power and fear of disaster.
It seems that in China, artists deliberately avoid the disaster itself and tend to use the disaster to depict dedication, patriotism and collective consciousness, depicting the disaster as a grand narrative to achieve the requirements of cohesion of the public centripetal force. Therefore, they will consciously weaken the appearance of the disaster and further highlight the heroes' excellence.

Figure 3. Karl Pavlovich Bryullov, Pompeii Doomsday
In the Russian painter Karl Pavlovich Bryullov's Pompeii Doomsday (Fig. 3), the viewers can feel that when the disaster comes, the human power is unable to resist the changes of nature. The fallen buildings, the trembling and frightened crowd, the frightened horses, lightning, and fire penetrate the rolling smoke in the distance. They are approaching, indicating that Pompeii City is a harbinger of disasters. Fear, uneasiness, anxiety and despair pour out wantonly in the picture, rendering the doomsday scene deeply rooted in the people's hearts. It seems that in the face of nature, all the benevolence, compassion and justice are pale and powerless; there is no Redeemer, even the anger from heaven.
Pestilence is also one of the disasters that people fear. The plague in the Middle Ages took one- indicating that hope has been far away from these unfortunate people, life is coming to an end, and death is near. In Chinese traditional art, few works directly bring disaster to the public's vision. Chinese art tends to do artworks into a kind of ideological object with special value, which can have the aesthetic feeling of the art form and outstanding techniques and have the functions of calling for unity, inspiring labour, and serving politics. This is a kind of art from the collectivist appeal.
There are different opinions on the origin of art, but few of them are forced, task-based or forced to do so. When a primitive tribe first steps forward and dances with his own judgment of beauty, it is a kind of free release; when a young child first picks up a paintbrush and outlines his own image of beauty on paper, it is also unrestrained the manifestation of freedom. Therefore, there is a conflict and contradiction in art: the contradiction between "art is the manifestation of freedom" and "art is a derivative of a certain will". Of course, it must be noted here that this is not to deny that some creators just have the internal power of a certain special will.
It is obvious that Chinese art does not like to move disasters to the public view. There are few disastrous descriptions of "this shore" of life in artworks, such as art, design, film and television, while the opposite "other shore" of death is described as a frightening world. The royal nobles try

Reflection and Transcendence
The artistic creation of disaster theme is conducive to the expression of human nature, life, collective, nation, country, and other feelings to realize the thinking of art communication.
Meanwhile, it shall be the eternal theme of artistic creation to excavate and actively promote the humanistic feelings in the disaster (Zhang & Zelin, 2009). Based on spiritual thinking is one of the most important links in modern art, and it is also a necessary condition to promote the harmonious coexistence of society. Thus, the artistic creation of the disaster theme needs to be affirmed by the public. However, in Chinese land, disaster is always a pain that the public is unwilling to mention. People prefer to believe that the future is beautiful. Disaster needs to be avoided through various efforts. The art of disaster theme is not of great practical significance. At the same time, too much depiction of disaster is often regarded as an unfavourable potential danger of promoting the harmony and stability of the collective, society and country. But this is not to deny the Chinese attitude towards disasters. Chinese attitude towards disasters and the spiritual guidance given by disaster themes have played a good role in promoting social unity, collective honour and disgrace, and citizens' sense of security, equality, and happiness.
China's response to disasters and pestilence, from the traditional avoidance of pestilence to current active prevention and treatment of pestilence, reflects a strong scientific and human culture. Behind this change is the great change in the world's understanding of pestilence, the relationship between man and pestilence, and nature (Yu, 2021). China pursues the principle of putting the collective interests first and expects the society to prosper together, which enables citizens to face disasters with confidence and confidence in the face of disasters without losing hope in them. Thus, disaster art is often accompanied by heroes' sacrifice, selfless dedication, ceaseless struggle, and collectivism when disaster comes. The reason is precise because of the Chinese people's inner understanding of the harmonious coexistence between man and the universe, which makes people realize that they are small and need to gather more strength to face difficulties.
Moreover, for death, the Chinese think that it is the end of life. For westerners, the strong religious consciousness makes them believe that they will face the trial from another world after death.
When death is faced squarely, it becomes less terrible. Therefore, it is not difficult to find that the root of the different attitudes of the East and the west towards the disaster lies in the differences in the cognition of "the other side" in the human brain, that is, the vision of the Chinese people tends to focus on the "this side" of life, while the Westerners trust to find their own destination on the other side. In the face of disaster, Chinese artists put themselves in the collective and submit their strength to the collective consciousness. People will defeat the volitional and selfless hero shaping of disaster is the eternal theme of Chinese people in the face of disaster.

Conclusion
In all aspects of the social division of labour, art cannot immediately affect the face of disaster, but it's obviously not the responsibility that art should bear. Art cannot control the progress of a disaster, but it has the potential to change our attitude towards disaster. Art is the objective presentation of the creator's thinking, and its display has strong communication, which is the reason. The media have similarities, but the current art creation is obviously due to a variety of reasons, in the face of disasters, showing a trend of "art media", of course, this is not a complete negation of this behaviour, in a special period, people want to overcome the disaster, is bound to gather the collective strength, through the multi-faceted encouraging voice to work together.
Through these obviously, it plays a positive role in the national cohesion of a country and should be advocated in a special period. However, compared with the media's inherent "instantaneity" and "freshness", artistic creation also can reflect on things in the later stage. This "lagging" feature is different from that of the news media. Should art have more expression space instead of too much guidance or ideological interference? The enlightenment significance in art should not be a kind of bondage, which makes art creators fall into a passive situation. Instead, it should be guided by a multi-level, multi-directional three-dimensional vision so that artists can face the disaster directly, rather than praise or emphasize moral education. This is because the disastrous narrative enables people to understand the world more comprehensively. What artists lack now is the courage and wisdom of free expression. In modern China, the level of science and technology and medical treatment is far higher than before. People have more effective response measures to plague and disaster, but the culture of introspection and criticism is still relatively poor. The plague is frightening, but it has also become the driving force of human progress. History is often tortuous, and disasters are inevitable natural phenomena. Human beings analyze disasters from the perspective of natural science and study measures and governance programs to deal with disasters, which has a distinct significance for the progress of human material civilization. But at the same time, we also need to pay attention to the construction of disaster culture, which can also obtain the path of sustainable human development from another perspective to further promote the progress of human civilization.