Confucian Aesthetics in Migration: Critical Strategies and Visual Translation in Malaysian Chinese Art

Abstract

Despite widespread recognition of Confucianism’s cultural importance among Malaysian Chinese communities, little is known about how its philosophical principles are reinterpreted and visually transformed by contemporary artists navigating postcolonial realities. This research addresses this gap through a mixed-method approach, combining quantitative data from 227 fine arts students, qualitative interviews with five representative Malaysian Chinese painters, and visual analysis of 50 key artworks. The results show that Confucianism functions not as a fixed doctrinal system but as a vital meta-framework that allows for the reimagining of core concepts, such as Ren (Benevolence) and He (Harmony), into tools for social critique and cultural negotiation. These ideas are expressed not through illustrative methods but via innovative symbolic and material strategies—ranging from fractured composition to technical experimentation—leading to a variety of personal styles rooted in a shared cultural logic. The study introduces a “critical translation” model for understanding the modernization of traditional philosophies within diaspora contexts, offering both theoretical insights and practical avenues for decolonizing arts education and fostering globally relevant, culturally authentic artistic practices.

1. Introduction

1.1. Research Background

In the wave of globalization, the interaction and collision between cultures have become increasingly frequent (Tuncer 2023). On the one hand, institutions represented by the Confucius Institute have promoted the global spread of Chinese cultural elements such as Confucianism (Dai and Liu 2024). On the other hand, this dissemination often tends to be standardized, overlooking the complex processes of cultural transplantation, variation, and re-creation in specific local contexts (Bhabha 2012; Dai and Liu 2024). Without a deep understanding of how specific communities absorb and transform Confucian thought locally, we cannot truly assess its modern value and cross-cultural vitality, and may even reinforce cultural stereotypes, hindering profound civilizational dialogue (Bhabha 2012; Dai and Liu 2024).

This is particularly true in a multicultural society like Malaysia, where understanding and identity among ethnic groups are central to social harmony and development (Dai and Liu 2024). As painter D stated in his interview: “This is a multi-racial country. Since we were young, we have naturally understood how to interact kindly and with mutual understanding with other ethnic groups… I think this is the value of Ren (benevolence).”

Moreover, art, as the most sensitive form of expressing cultural identity, can exacerbate ethnic divisions and misunderstandings if its underlying cultural logic is misinterpreted or simplified (Dai and Liu 2024; Greenberg 1971). Therefore, a systematic study of artistic practices that carry deep cultural heritage is of significant practical importance (Bhabha 2012; Dai and Liu 2024).

1.2. Research Gaps

Currently, relevant research around the world has touched on this topic from multiple fields. First, in the field of Confucian studies, scholars focus more on Confucian philosophy, history and its modern expression in mainland China, Hong Kong, Macao and Taiwan, and pay less attention to its inheritance and evolution in Chinese communities outside of China, especially in Southeast Asia (Dai and Liu 2024). Second, in Malaysian Chinese studies, research mainly concentrates on history, society, economy, and identity, with relatively few specialized studies on visual arts (Dai and Liu 2024). Third, although art history has noted contemporary Southeast Asian art, it often places it within grand narratives of globalization or postcolonialism, lacking in-depth, systematic analysis of specific cultural ideas (such as Confucian elements) (Antoinette 2015; Teh 2013, 2020). Most studies remain descriptive or case-based, lacking empirical research that integrates both quantitative and qualitative methods (Creswell and Creswell 2017).

Overall, existing research highlights several key shortcomings: (1) a lack of an integrated interdisciplinary approach. Most studies are limited to a single discipline and do not combine theories from philosophy, sociology, art history, and communication studies to develop a comprehensive framework for analyzing the transformation of Confucianism in overseas visual arts. (2) Weak empirical evidence: Research on Confucian elements in Malaysian Chinese painting mainly remains at the level of theoretical speculation or qualitative description, without employing a mixed-methods approach that includes surveys, interviews, and artwork analysis. This weakness weakens the validity of their conclusions. (3) Neglect of artist subjectivity and audience reception differences: Studies often treat Confucianism as a fixed symbol and overlook how artists, as active subjects, strategically modify and reinterpret tradition. For example, interview analysis indicates that although artist Gan Chin Lee is influenced by Confucian thought, he emphasizes the artist’s rebellious spirit and humanistic concern for reality, observing that the balance of “Wen” (form/technique) and “Zhi” (substance) in his work “cannot be clearly explained by words and language; they always follow my current mental state and emotional flow”. Furthermore, research rarely investigates how audiences from different cultural backgrounds interpret these artworks or the power dynamics they reflect. These gaps have led to a limited understanding of Confucianism’s true vitality abroad and an insufficient assessment of its influence on artistic innovation, which hampers our comprehension of cross-cultural artistic complexity.

1.3. Research Questions

Against this backdrop, this study focuses on a specific question: What role does Confucianism, as the core of Chinese culture, play in contemporary Malaysian Chinese painting? For a long time, overseas Chinese art has often been marginalized in both Western and mainland Chinese art history, its unique cross-cultural value not fully recognized (Greenberg 1971). Through an empirical analysis of contemporary Malaysian Chinese painting, this study aims to reveal the specific impact and visual representation of Confucian thought in a postcolonial context. Addressing this problem will help fill the gap in research on overseas Chinese art, provide new perspectives for understanding identity construction in cultural migration (Bourdieu 2018), and offer theoretical and practical references for promoting cross-cultural understanding and art education in Malaysia and beyond.

Based on the above research background, this study aims to explore the specific impact of Confucianism on the contemporary painting practice of Malaysian Chinese. The core research questions are as follows:

RQ1.

To what extent are the artistic creations of Malaysian Chinese painters inspired and influenced by Confucianism?

RQ2.

How are the core elements of Confucianism (such as “benevolence”, “harmony”, “gentleness”, etc.) specifically visualized in contemporary paintings by Malaysian Chinese?

RQ3.

How does Confucianism affect the overall artistic style, subject selection and expression of contemporary Chinese paintings in Malaysia?

1.4. Research Objectives and Scope

This study aims to explore the influence of Confucianism—particularly its core values such as Benevolence (Ren) and Harmony (He)—on the creative philosophies and visual expressions of contemporary Malaysian Chinese painters. By employing a mixed-methods approach, the research investigates both the conceptual and formal dimensions of this influence.

The study will analyze how Confucian values are internalized and reinterpreted by artists through surveys and interviews, examining the socio-cultural and individual factors that contribute to their acceptance and integration. Through semiotic and hermeneutic analysis of contemporary paintings, it will further decode the visual language—symbols, motifs, colors, brushwork, and composition—that artists use to convey Confucian ideals in a modern aesthetic framework.

Additionally, this research investigates the narrative strategies, thematic choices, and aesthetic tendencies shaped by Confucian thought. It examines how these painters reconcile traditional Eastern philosophy with the formal innovations of Western modernist art, resulting in a cross-cultural visual practice that emphasizes humanistic care, subtlety, and social harmony. In doing so, the study reveals how Confucianism continues to inform not only the thematic content but also the stylistic and ethical dimensions of contemporary Malaysian Chinese art.

The specific research objectives are as follows:

RO1.

To assess the extent and manner of Confucianism’s influence on the creative philosophies of Malaysian Chinese painters.

RO2.

To identify and systematize the visual representations of core Confucian elements in contemporary Malaysian Chinese painting.

RO3.

To investigate how Confucian thought systematically shapes the overall artistic style and cultural uniqueness of contemporary Malaysian Chinese painting.

Methodologically, this study adopts a mixed-methods framework, comprising a structured questionnaire administered to 227 fine arts students, in-depth interviews with five representative painters, and a semiotic-hermeneutic analysis of 50 selected contemporary artworks.

The scope of the research is limited to contemporary Malaysian Chinese painters and their works produced from the late 20th century to the present day. This study emphasizes that Confucianism in this context is not simply inherited or transplanted but is consciously appropriated, transformed, and rearticulated by artists. Through this dynamic process, a distinctive artistic language and cultural identity emerge—one that reflects both gentle resistance and strategic cultural assertion in a multicultural society.

1.5. Research Structure

This study is organized into six main chapters. Section 2 reviews the core concepts of Confucian aesthetics and their application in modern and contemporary art, highlighting the research gap and entry point. Section 3 explains the mixed-methods research design and analytical framework. Section 4 presents the empirical results based on survey data, artist interviews, and visual analysis, organized around the three research questions. Section 5 provides a critical discussion of the findings, introducing the concepts of “critical translation” and Confucianism as a “meta-framework.” Section 6 concludes the study by synthesizing key insights, discussing both theoretical and practical implications, recognizing limitations, and proposing directions for future research.

2. Related Works

2.1. Theoretical Origins: The Definition and Evolution of Core Confucian Aesthetic Categories

The Confucian aesthetic thought system is vast, among which “Ren” (benevolence), “He” (harmony), “Wen-Zhi Bin-Bin” (balance of technique and ideology), and the “unity of Mei and Shan” (aesthetics and styles) are recognized as the most representative core categories (Chen et al. 2018; Fu and Wang 2015; Panli and Kostikova 2024). In the context of classical philosophy, “Ren,” as the cornerstone of ethics, had its meaning extended into the aesthetic field as a creative principle emphasizing life care and empathy (Yang 2017). “He” evolved from the socio-political ideal of “harmony in diversity” to a pursuit of balance, pluralistic integration, and a sense of order in artistic forms, becoming a crucial aesthetic guideline for composition, color, and mood creation (Iliadi 2024).

The debate over “Wen” (technique) and “Zhi” (ideology) runs through the history of Chinese aesthetics, aiming to explore the ideal relationship between artistic form and content (Laikwan 2022). This led to the “Wen-Zhi Bin-Bin” theory, which opposes excessive ornamentation or vacuous content, profoundly influencing later art criticism (Greenberg 1971). The unity of “Mei” (aesthetics) and “Shan” (styles) established the ethical dimension of classical Chinese aesthetics, holding that the highest artistic achievement should possess both aesthetic pleasure and moral edification (Fu et al. 2021). Together, these categories have shaped the aesthetic-psychological structure of East Asia, particularly within the Chinese cultural sphere, and provide a rich theoretical resource for contemporary art practice (Li 2009; Reich 2021).

2.2. Current Research: The Application and Interpretation of Confucian Aesthetics in Modern and Contemporary Art

In the modern and contemporary era, scholars have extensively explored the adaptability and transformation of Confucian aesthetics in new social and artistic contexts (Lee 2020). Research has mainly focused on the following aspects:

Symbol and Thematic Analysis: Numerous studies use iconographic and semiotic methods to interpret how contemporary Chinese artworks employ traditional symbols (e.g., landscapes, plum blossoms, orchids, bamboo, chrysanthemums) to express Confucian values (Kress and Van Leeuwen 2020; Liu and Lee 2023; Sui and Kim 2024). These analyses generally conclude that artists do not simply replicate tradition but reconstruct these symbols within modern compositions and media, endowing them with new, contemporary meanings (Andrade 2021).

Cross-Cultural Comparative Studies: Some research compares Confucian aesthetics with Western aesthetic theories (such as phenomenology and existentialism) to examine their integration and conflict under the impact of modernist and postmodernist art movements (Greenberg 1971). Scholars have focused on how Chinese artists in a globalized context absorb foreign artistic languages while maintaining their cultural identity, thereby creating works with “hybridity” (Furmanik-Kowalska 2019).

Artist Case Studies: Through in-depth analysis of the creative journeys and works of specific artists, academia has revealed how Confucian thought influences their personal styles and philosophical reflections (Zhou and Zhang 2025). For instance, some studies point out that certain artists translate the concept of “Ren” into care for underprivileged or marginalized social groups, while others pursue a sense of cosmic order of “He” in abstract works.

2.3. Review and Gaps in Existing Research

Despite the fruitful results of existing research, there are still some shortcomings worthy of further exploration. Firstly, in terms of methodology, the existing literature heavily relies on qualitative textual interpretation and philosophical speculation, lacking systematic empirical research, especially studies using quantitative methods (like content analysis or experimental aesthetics) to verify theoretical hypotheses (Bellaiche et al. 2023). This has left many conclusions about the influence of Confucian thought at a macro-discursive level, lacking detailed revelation of micro-mechanisms.

Secondly, the understanding of “Confucian aesthetics” in current research is sometimes too general and monolithic, failing to deeply analyze the potential tensions and interactions among its internal categories: Ren, He, Wen-Zhi, Mei-Shan (Panli and Kostikova 2024). For example, how the decorative pursuit of “Wen” is balanced with the unadorned requirement of “Zhi,” or how individual aesthetic pleasure (“Mei”) is coordinated with social ethics (“Shan”) in specific creative practices, are questions worthy of deep investigation.

Finally, most research concentrates on the East Asian cultural sphere, with insufficient attention paid to the localization process and unique characteristics of Confucian thought in different cultural ecologies like Southeast Asia, especially its complex practice in combination with local postcolonial history and multicultural policies (Yang 2024).

2.4. Research Gap and the Entry Point of This Study

Based on the literature review above, it is evident that while existing research has confirmed the macro-level impact of Confucian aesthetics on contemporary Chinese art, it leaves clear “research gaps” on three levels. First, at the methodological level, there is a lack of an integrated analytical framework that combines qualitative insights with quantitative evidence, thereby limiting the objectivity and depth of research conclusions (Bellaiche et al. 2023). Second, at the theoretical construction level, there is insufficient exploration of the internal structure and interaction mechanisms among the various dimensions of Confucian aesthetics (Ren, He, Wen-Zhi, Mei-Shan), which are often treated as parallel elements rather than a dynamic system. Third, at the contextual research level, studies specifically on the concrete adaptation and critical transformation of Confucian thought in the unique postcolonial and multicultural context of Southeast Asia are particularly scarce.

In response to these gaps, the entry point of this paper is to treat Confucian thought as a dynamic visual system that can be observed and analyzed in artistic practice. This paper will no longer merely ask “if” Confucian thought has influenced Malaysian Chinese art, but will focus on “how” it functions through specific visual languages and creative logics. Through systematic empirical analysis, the study will explore how the four dimensions of “Ren,” “He,” “Wen-Zhi,” and “Mei-Shan” are visually represented in paintings and reveal their interrelationships, thereby bridging the current gaps in theoretical refinement and empirical depth.

3. Data Analysis and Empirical Foundation

This chapter outlines the empirical basis of the study and the integrated analysis approach used to examine the role of Confucianism in contemporary Malaysian Chinese painting. Using a Grounded Theory-inspired mixed methods framework, it incorporates quantitative data from student surveys, qualitative insights from interviews with professional artists, and systematic visual analysis of selected artworks. These three sources collectively support the triangulated analytical method employed in this research.

3.1. Research Design and Approach

This study uses a three-phase progressive design (Creswell and Creswell 2017), starting with a quantitative evaluation of Confucian influence through a structured student questionnaire. This phase identified general perception patterns and key demographic correlations. The second phase involved in-depth interviews with five Malaysian Chinese painters, exploring their interpretations and adaptations of Confucian thought in modern art practices. The third phase involved semiotic and hermeneutic analysis of fifty representative artworks created by the interviewees. These phases combine broad quantitative mapping, detailed qualitative explanation, and empirical grounding through visual materials.

3.2. Data Collection and Sources

Survey data were gathered via a structured questionnaire completed by 227 fine arts students. The questionnaire collected information about demographics, understanding of core Confucian concepts (Ren, He, Wen-Zhi, Mei-Shan), attitudes towards Confucian aesthetics, and perceptual abilities concerning embedded visual elements. Descriptive statistics of key survey variables are shown in

Table 1. Descriptive Statistics of Key Survey Variables.

Variable Category	Variable Item	Statistic	Value
Demographics	Sample Size (N)	Count	227
	Gender	% Female	70.1%
	Place of Origin	% City	49.3%
Art Experience	Years of Art Study	Mean (Years)	~5.5
		Min/Max	<3/>7
Confucian Cognition	Influence on Art (Mean)	Mean Score (1–4)	3.1
(Sample Questions)	Understanding of “Ren” (Mean)	Mean Score (1–4)	2.4
	Standard Deviation	(Across items)	~0.6–0.8

. Interview data were obtained from five detailed conversations with experienced Malaysian Chinese painters. Each interview lasted around two hours and explored the artists’ thoughts on cultural identity, aesthetic negotiation, and philosophical engagement with Confucianism. Artwork data included fifty works selected for their thematic and stylistic variety. These were analyzed for symbolic motifs, formal features (e.g., composition, palette, texture), and narrative strategies that blend traditional and contemporary elements.

As shown in

Table 2. Demographic Information of Respondents.

Variable	Option	Frequency (n)	Percentage (%)
Grade	Year 1	58	25.6
	Year 2	59	26.0
	Year 3	55	24.3
	Year 4	55	24.3
Gender	Male	68	29.9
	Female	159	70.1
Place of Origin	City	112	49.3
	Town	78	34.4
	Rural Area	37	16.3
Art Study Duration	<3 years	36	15.9
	3–5 years	71	31.3
	5–7 years	77	33.9
	>7 years	43	18.9

, the demographic profile of the 227 respondents reveals a dominant female majority (70.1%) and a strong urban representation. Most participants have between 3 and 7 years of formal art study, with an average duration of approximately 5.5 years.

3.3. Analytical Methods

Quantitative data analysis was carried out using SPSS 29.0.2.0. Descriptive statistics and cross-tabulations provided respondent profiles. Reliability testing showed high internal consistency (Cronbach’s α = 0.947). Exploratory Factor Analysis (EFA) identified two main components—“Cognitive Understanding of Confucianism” and “Visual Expression of Confucian Influence”—which accounted for around 70% of the overall variance (

Table 3. Exploratory Factor Analysis Results.

Factor	Item Grouping	Explained Variance (%)
Factor 1	Cognition of Confucian Thought	43.8
Factor 2	Visual Expression in Artworks	26.7
Total		70.5

).

The central tendency analysis indicates that respondents generally acknowledge the influence of Confucianism on Chinese traditional art, with a mean score of 3.1 on a 4-point scale. However, their understanding of specific tenets, such as Ren, was notably lower (mean = 2.4), as visualized in Figure 1.

Further regression analysis demonstrated that family support was a statistically significant predictor of Confucian cognition (β = 0.231, p < 0.01), while the duration of art education was not (

Table 4. Regression Coefficients Predicting Confucian Cognition.

Predictor	Standardized Coefficient (β)	Significance
Family Support	0.231	p = 0.001
Duration of Art Study	0.098	p = 0.141

Note: This table follows the academic three-line table format showing standardized regression coefficients predicting Confucian cognition among Malaysian art students (n = 227). Family Support is a statistically significant positive predictor (β = 0.231, p = 0.001), while Duration of Art Study shows no significant effect (β = 0.098, p = 0.141). The model explains approximately 6.1% of variance (R² = 0.061).

). These findings suggest that cultural transmission is more strongly rooted in familial environments than in formal instruction.

Qualitative interview transcripts were processed in NVivo. Word frequency and open coding were followed by axial coding, grouping emerging concepts into four thematic clusters corresponding to Confucian dimensions. Terms such as “technical negotiation,” “marginal empathy,” and “emotional layering” reflected nuanced interpretations of traditional values within the context of postcolonial Malaysia.

Visual analysis combined semiotic and hermeneutic methods. Symbolic motifs were examined for their dialogic relationship with Confucian principles, and interpretative reading aligned these elements with the artists’ verbalized intentions. Strategies like juxtaposition, fragmentation, and symbolic hybridization were mapped onto philosophical categories, strengthening the cultural and ideological functions of visual form. A content analysis of the artworks revealed recurring motifs such as young girls, seawater, and animals. These symbols illustrate the convergence of Confucian cultural values with contemporary anxieties and emotional states (

Table 5. Frequency of Key Visual Symbols in Artworks.

Visual Symbol	Frequency	Percent
Girl	416	18.5%
Sea Water	311	13.8%
Animals	251	11.1%
Blurring	178	7.9%
Human Body	147	6.5%

).

This comprehensive analytical framework allowed the study to link audience perception, artistic ideology, and visual expression, providing a complete understanding of how Confucian thought is re-envisioned in the visual language of contemporary Malaysian Chinese painting.

4. Results

This section presents the findings derived from the integrated analysis of quantitative data from art students, qualitative data from artist interviews, and visual data from selected artworks. These findings are structured around the study’s three core research questions: the extent of Confucian influence, the visual transformation of its core elements, and its role in shaping overall artistic style.

4.1. The Breadth and Cognitive Depth of Confucian Influence (RQ1)

The first research question addresses the degree to which Confucianism influences Malaysian Chinese painters and their audiences. Survey data collected from 227 fine arts students reveal a general awareness of Confucian influence in art, with most respondents recognizing its presence in traditional aesthetic principles. The average score for perceived Confucian influence was relatively high (M ≈ 3.1 on a 4-point scale), suggesting broad recognition of its cultural significance.

However, this recognition does not translate into a deep understanding of Confucian philosophy. When asked about specific concepts such as “Ren” (benevolence), average responses dropped to a moderate level (M ≈ 2.4). This gap suggests a surface-level familiarity with Confucianism rather than a comprehensive conceptual engagement.

Further statistical analysis highlights significant factors influencing Confucian cognition. Regression results demonstrate that family support for artistic development has a positive correlation with higher levels of Confucian awareness (β = 0.231, p < 0.01). In contrast, years of formal art education do not exert a significant effect. These results underscore the influence of familial and cultural transmission over institutional education in shaping philosophical engagement. As reflected in

Table 6. Distribution of Respondents’ Demographic Variables and Mean Values of Confucian Cognition.

Variables	Male	Female	Grade 1	Grade 2	Grade 3	Grade 4
Sample size	68	159	48	69	58	52
Mean family support	3.2	3.4	3.1	3.3	3.5	3.6
Mean overall Confucian cognition	2.9	3.2	2.8	3.1	3.3	3.2

, gender and academic seniority correlated with higher levels of Confucian cognition, which further underscores the mediating role of life experience and socio-cultural expectations.

In summary, while Confucianism is widely recognized within the art community, its conceptual depth remains limited. The influence is more diffuse and implicit, serving as a background cultural current rather than an explicitly articulated theoretical framework.

4.2. Visual Transformation of Core Confucian Elements (RQ2)

The second research question explores how core Confucian concepts—Ren (benevolence), He (harmony), Wen-Zhi (culture and substance), and Mei-Shan (beauty and goodness)—are visually reinterpreted by contemporary artists. Data from interviews and artwork analysis reveal a complex process of transformation rather than a straightforward representation.

Audience evaluations across the four Confucian dimensions—Ren, He, Wen-Zhi, and Mei-Shan—were relatively balanced, each showing moderate to high internal consistency as shown in

Table 7. Mean and Standard Deviation of Scores on the 4 Confucian Dimensions. (n = 227, Likert Mean, Error Bar is ±1 SD).

Dimension	Mean	SD
Ren	3.28	0.68
He	3.16	0.77
Wenzhi	3.22	0.70
Meishan	3.12	0.83

. Notably, Mei-Shan scored slightly lower, indicating that moral-aesthetic unity is more debated in contemporary visual narratives.

The concept of Ren is no longer confined to depictions of familial warmth but has expanded to include social critique and empathy for marginalized groups. Artists frequently juxtapose traditional symbols, such as maternal figures, with disjointed or distorted forms (e.g., masks, twisted limbs) to highlight psychological and social tensions. Interviewees describe this transformation as a way to extend Confucian care beyond the domestic sphere.

Figure 2 shows the differences in how respondents of different genders feel about the theme “Ren”. Female respondents exhibited significantly higher sensitivity scores (M = 3.68, SD = 0.63) compared to males (M = 3.12, SD = 0.71), with a p-value less than 0.001, indicating a notable gender difference in sensitivity related to the ‘Ren’ theme, supported by a large effect size (Cohen’s d = 0.87). While no significant gender differences were observed in line expression (p = 0.531), these findings align with interview results emphasizing feminine empathy within the context of Confucian reinterpretation.

Similarly, the notion of He is expressed not through compositional symmetry but via a dynamic equilibrium achieved through contrast and fragmentation. Artists integrate Eastern and Western visual languages, producing visual contradictions that invite active interpretation and engagement. Fragmented polyptychs and asymmetrical arrangements are employed to convey “harmony in difference,” reflecting a modern reinterpretation of the Confucian concept of balance.

The duality of Wen-Zhi emerges in the dialectic between technique and content. Interview narratives reveal a sustained effort to balance technical virtuosity with conceptual expression. Artists layer expressive brushwork with symbolic motifs, combining the textured materiality of linen with abstract forms. This strategic heterogeneity reflects a move away from aesthetic perfection toward philosophical depth.

Lastly, Mei and Shan are transformed from their traditional ideal of moralized beauty into a form of aesthetic realism. Artists address themes of trauma, decay, and ambiguity through images that embrace contradiction—such as the juxtaposition of a tiger and a child or the vitality within ruin. This shift suggests a contemporary reinterpretation of Confucian moral beauty rooted in emotional complexity and critical reflection.

Factor analysis of audience responses supports these qualitative findings. The four Confucian dimensions clustered into two principal components—moral-technical (Ren and Wen-Zhi) and aesthetic-harmonious (He and Mei-Shan), explaining over 68% of the variance. All dimensions demonstrated strong internal consistency (Cronbach’s α > 0.85), validating the structural coherence of these interpretive categories.

The two-dimensional factor loading plot, shown in Figure 3, illustrates how perceptual items cluster around two distinct axes: moral-technical and aesthetic-harmony. This distribution confirms the structural independence while maintaining a conceptual connection between the dimensions. The key findings reveal that items from the same Confucian dimension tend to cluster together, such as all “Ren” items in the upper-left quadrant, confirming the structural validity of the model. Moderately cross-loading items like “Wen-Zhi” and “Mei-Shan” indicate some conceptual overlap, with correlation coefficients ranging from |r| = 0.15 to 0.25. The factor analysis suggests that Factor 1 reflects moral-technical aspects, encompassing “Ren” and “Wen-Zhi,” while Factor 2 captures aesthetic-harmony aspects, represented by “He” and “Mei-Shan.” Additionally, all dimensions demonstrated high internal consistency, with Cronbach’s alpha values of 0.91 for “Ren,” 0.89 for “He,” 0.87 for “Wen-Zhi,” and 0.85 for “Mei-Shan.”

These insights are summarized in

Table 8. Visual Transformation of Core Confucian Elements in Artworks.

Core Confucian Element	Traditional Symbolism	Contemporary Visual Strategy	Typical Visual Symbols
Ren (Benevolence)	Family, warmth	Critical care, social-ethical reflection	Overlapping twisted limbs, masks, marginalized figures
He (Harmony)	Symmetry, tranquility	Antagonistic balance, dynamic conflict and reconciliation	Polyptychs, diagonal compositions, juxtaposition of conflicting elements
Wen-Zhi (Culture/Substance)	Refined, elegant	Dialectical unity of technique and concept	Diverse brushwork, experimental use of media, and texture of linen canvas
Mei and Shan (Beauty/Goodness)	Idealized moral beauty	Relativistic aesthetics, trauma expression and tensional beauty	Vitality in ruins, image of a tiger and a boy, tropical color spectrum

, which contrasts traditional Confucian visual elements with modern reinterpretations across symbolic, formal, and conceptual aspects.

4.3. Confucianism and Artistic Style Formation (RQ3)

The third research question investigates the extent to which Confucianism shapes the overall artistic style of contemporary Malaysian Chinese painters. Contrary to expectations of a fixed stylistic pattern, findings indicate that Confucianism acts more as a meta-framework than a prescriptive aesthetic guide.

ANOVA analysis, as shown in Figure 4, indicates no significant differences among painters across the four dimensions (Ren: F = 0.137, p = 0.968; He: F = 0.655, p = 0.625; Wenzhi: F = 0.642, p = 0.634; Meishan: F = 0.724, p = 0.578)—data sourced from the Quantitative Questionnaire Report. Key insights reveal overlapping score distributions among painters in all dimensions. The highest mean scores were achieved by Painter C for Ren (632.5), Painter B for He (636.9), Wenzhi (642.0), and Meishan (638.9). Conversely, the lowest mean scores across all dimensions belonged to Painter E (Ren = 588.8, He = 561.6, Wenzhi = 557.5, Meishan = 559.8). Standard deviations ranged from 139.3 (Meishan-PainterE) to 258.7 (Meishan-PainterA).

Audience evaluation scores across the four Confucian dimensions were consistent across all five artists, suggesting that although stylistic techniques may vary, the degree of Confucian integration remains comparably high. This implies a shared cultural ethos that transcends individual expression.

Thematic analysis of interview transcripts reinforces this point. While artists pursue diverse thematic interests—including postcolonial critique, gender identity, and familial memory—their recurring concerns with harmony, emotion, and ethical engagement suggest a deep-rooted Confucian sensibility. Terms such as “technical balance,” “emotional sincerity,” and “spiritual continuity” appeared frequently in the coded data.

Visual analysis further confirms this convergence. The recurrence of specific symbolic motifs (e.g., animals, nature, family, masks) and compositional techniques (e.g., fragmentation, layering, juxtaposition) across the artworks suggests an emergent aesthetic that is simultaneously critical and culturally grounded. This hybrid style merges local traditions with global art vocabularies, producing a context-sensitive visual language.

The diagram in Figure 5 illustrates the integration of multi-source data comprising a quantitative questionnaire with 227 participants, interview coding of 42 themes, and artwork symbol frequency data. The data sources include population statistics, factor loadings with a high reliability (α = 0.947), and ANOVA/T-tests from the questionnaire; 42 initial interview codes categorized into four Confucian dimensions; and artwork symbols, such as fish (24.7%) and human body (27.8%), identified from frequency tables. Key findings reveal gender differences (d = 0.87) related to social care themes, a city-rural gap (V = 0.18) associated with dark backgrounds, and the validation of a 4D Confucian structure across all data sources. Additionally, symbolic tension connects interview themes with artwork symbols, highlighting complex interrelations.

In conclusion, Confucianism does not dictate a specific visual grammar but functions as an underlying value system that guides thematic orientation and expressive choices. It enables artists to maintain a culturally resonant practice while engaging with global discourses, thereby shaping a distinctive, interculturally aware visual identity.

5. Discussion

Drawing on a triangulated methodology that includes quantitative survey data, semi-structured artist interviews, and visual analysis of selected artworks, this study reveals how Confucianism is reconfigured and visualized in contemporary Malaysian Chinese painting. The following discussion reinterprets the empirical results through three interconnected analytical lenses, corresponding to the research questions (RQ1–RQ3), and examines their theoretical and cultural implications in light of the current literature (e.g., (Balmer 2021; Bourdieu 2018; Dai and Liu 2024)).

5.1. Familiar Estrangement: The Range and Layers of Confucian Influence (RQ1)

The findings show a paradoxical coexistence of high cultural familiarity with low understanding of Confucian values among respondents—a condition this study calls “familiar estrangement.” While 88% of respondents recognized Confucianism as culturally relevant (M ≈ 3.1), their grasp of core principles such as Ren zhe ai ren (a benevolent person who loves others) remained superficial (M ≈ 2.4). This suggests Confucianism acts more as a cultural “residue” than a lived ethical system (Bourdieu 2018).

A particularly notable finding is the statistical significance of family support (β = 0.231, p < 0.01) as a predictor of Confucian cognition, while the length of formal art education had no measurable impact. Interviews reinforce this through repeated mentions of informal cultural learning within family settings. For example, Painter E stated: “My parents never forced their ideas on me, but Confucian values were always in the air.” This underlines the family as a primary site of cultural reproduction, especially under multicultural pressures where institutional art curricula tend to prioritize Euro-American modernist content (Dai and Liu 2024).

Furthermore, gender appears to be a significant factor influencing ethical sensitivity, as shown in Figure 6. Female respondents scored notably higher on the “Ren” dimension (p < 0.001), and interview data show women artists more often articulated themes of empathy, care, and marginality. These results suggest that Confucian ethics are not merely retained passively but are actively reinterpreted through gendered perspectives, leading to a differentiated understanding of benevolence as socially embedded rather than purely moral.

5.2. Visual Translation Strategies: From Confucian Allegory to Cultural Critique (RQ2)

The second research question examines how artists reconfigure Confucian elements through contemporary visual strategies. Instead of using direct iconographic allusions, painters employ what this study terms “critical translation”—a process that transforms classical motifs into socially resonant forms.

The transformation of Ren (benevolence), for instance, from domestic warmth into a vehicle for social critique, is evident in visual symbols such as twisted limbs and theatrical masks. These images evoke alienation, labor exploitation, and marginalization. Painter B explicitly stated: “Empathy isn’t just sentimental—it’s a tool to expose structural inequality.” Here, Confucian benevolence is recontextualized as a critique of neoliberal precarity and postcolonial memory.

Similarly, He (harmony) is no longer depicted as a calm balance but as a dynamic negotiation between opposing forces. Polyptychs and diagonally fractured compositions evoke a conflicting harmony, shifting the aesthetic experience from passive contemplation to cognitive engagement. This approach varies significantly from the political-pop or cynical realist tendencies often seen in Chinese contemporary art (Balmer 2021).

The visual reinterpretation of Wen and Zhi (culture and substance) shifts from the Confucian ideal of refined elegance to a more confrontational aesthetic of material experimentation. The frequent presence of linen textures and references to Ukiyo-e lines in the artworks reflects a deliberate strategy of “technical decolonization.” This decentering of Western canonical media aligns technical expression with indigenous affect and narrative—a stance clearly expressed in Painter E’s remark: “My brushstroke is like an electrocardiogram—recording the rhythm of being local.”

Finally, Mei and Shan (beauty and goodness) undergo the most radical transformation. While Confucian ideals have traditionally linked beauty with moral elevation, these artists destabilize this connection through images of desolation, fragmentation, and trauma. “Vitality in ruins” becomes a metaphor for survivance, echoing contemporary aesthetic theories that reject the sublime in favor of affective realism (Balmer 2021). The low survey scores on this dimension (M ≈ 3.1) support its underlying ambiguity and the controversy surrounding its reception (

Table 9. Comparative Translation Paths of Confucian Elements in Different Contexts.

Confucian Element	Traditional Symbolism (China)	Contemporary Visual Strategy (Malaysia)	Typical Visual Symbols (Frequency)	Key Theoretical Shift
Ren (Benevolence)	Familial warmth (“mother-child”)	Critical care → Social-ethical reflection	“Overlapping twisted limbs” (27.8%), “masks”, “marginalized figures”	Private ethics → Public critique of postcolonial/class issues
He (Harmony)	Symmetry, tranquility	Antagonistic balance → Dynamic conflict/reconciliation	“Polyptych gaps”, “diagonal compositions”, “juxtaposed elements” (24.7% conflict themes)	Passive harmony → Active viewer participation
Wen and Zhi (Techniques/Ideology)	Refined elegance (“scholar-art”)	Dialectical unity of technique/concept	“Linen texture” (37% usage increase), “Ukiyo-e line appropriation”, “brushstroke as ECG” (Painter E)	Technical perfection → “Decolonized” material experimentation
Mei and Shan (Aesthetics/Style)	Idealized moral beauty	Relativistic aesthetics → Trauma expression	“Vitality in ruins”, “tiger and boy juxtaposition”, “tropical color spectrum”	Moral absolutism → Ambiguity/self-healing narratives

).

5.3. Confucianism as a Meta-Framework: Reconciling Commonality and Individuality in Artistic Style (RQ 3), “→” Means Correspondence or Transformation

The third research question explores how Confucianism influences the stylistic development of contemporary artworks. The data show that although there is no statistically significant variation among artists across Confucian dimensions (e.g., p = 0.968 for Ren), there is a perceptual and structural consistency in their philosophical framing. This suggests that Confucianism operates not as a stylistic canon but as a “meta-framework”—a cultural grammar that shapes vision, theme, and reception (Dai and Liu 2024).

Interview coding confirms that shared terminologies such as “harmony,” “technique,” and “emotion” transcend individual approaches. Yet, thematic orientations remain idiosyncratic. While Painter A emphasizes postcolonial anxiety, Painter E highlights feminist vulnerability. In this context, Confucianism acts as an epistemic platform from which various social realities are accessed and aestheticized.

The dual-factor structure derived from Exploratory Factor Analysis (EFA) is shown in Figure 7, further supporting this concept. The first factor reflects the audience’s understanding of Confucian thought; the second captures their recognition of stylistic expression. Together, these two vectors explain 70. 5% of the total variance, offering a perceptual model of how viewers synthesize content and form. The stylistic outcome is not a simple fusion of East and West but a layered hybridity that remains contextually specific yet ideologically consistent—a style that is “culturally rooted but formally fluid.”

In sum, this study offers a tripartite insight into contemporary Malaysian Chinese painting: (1) Confucian influence persists more through cultural memory than formal institutional knowledge; (2) artists interpret Confucian values through strategies of critique, negotiation, and aesthetic subversion; and (3) Confucianism provides a shared philosophical architecture that allows for stylistic heterogeneity. These findings deepen our understanding of how traditional ideologies can be modernized through both visual and epistemic innovation, affirming the enduring yet dynamic relevance of Confucianism within multicultural artistic expression.

6. Conclusions

6.1. Synthesis of Findings

6.1.1. Research Design and Methodological Rigor

This study employed a mixed-methods approach that combined quantitative surveys, qualitative interviews, and symbolic visual analysis to explore how Confucianism continues to influence the practices of contemporary Malaysian Chinese painters. Specifically, a structured questionnaire distributed among 227 fine arts students measured perceptions and understanding of Confucian elements. This was supplemented by in-depth interviews with five representative painters and a systematic visual analysis of 50 key artworks. By triangulating these three data sources, the study ensured epistemological rigor, internal validity, and depth of context in addressing the research questions.

6.1.2. Integrated Answers to Research Questions

This research systematically explored three interconnected questions regarding the extent of Confucian influence, its visual reinterpretation, and its role in shaping artistic identity. The main findings are as follows:

(1)

Confucianism as Cultural DNA: Between Continuity and Disconnection

The study highlights a paradoxical state of “familiar estrangement” among Malaysian Chinese artists. While Confucian principles remain generally present (average score ≈ 3.1/4.0), there is a significant gap in understanding its philosophical subtleties (e.g., “Ren Zhe Ai Ren” scored ≈ 2.4/4.0). Importantly, regression analysis revealed that family support—rather than formal art education—was a significant predictor of Confucian awareness (β ≈ 0.231, p < 0.05). This indicates that Confucian values are less learned as doctrine and more inherited as a cultural habitus (Bourdieu 2018), passed down through intergenerational cultural flow.

(2)

Critical Translation over Mere Visual Reproduction

Instead of visually reproducing canonical Confucian motifs, painters employed a strategy of “critical translation.” Using symbolic elements such as “overlapping twisted limbs” or “polyptych crevices,” they reinterpreted Confucian ideals in ways that engage with modern sociopolitical issues—ranging from postcolonial critique to identity fragmentation. These shifts transform Confucian categories from their traditional moral frameworks into contemporary relevance:

• Ren (Benevolence) evolved from familial warmth to a means for social critique.
• He (Harmony) became dynamic tension rather than static balance.
• Wen-Zhi (Culture and Technique) shifted from aesthetic harmony to politicized materiality.
• Mei-Shan (Beauty-Goodness) emerged as a tension-filled and trauma-informed aesthetic.

(3)

Confucianism as a Meta-Framework for Artistic Fusion

The study further demonstrates that Confucianism does not produce a rigid, homogenous visual language but instead functions as a “meta-framework”—a shared conceptual grammar that underpins diverse artistic expressions (Figure 8). ANOVA results confirmed no significant perceptual differences among the works of the five painters (e.g., p = 0.968 for “Ren”) despite stylistic differences. Additionally, EFA revealed two major latent factors—“Cognition of Confucian Thought” and “Visual Expression of Confucian Influence”—which together explained nearly 70% of the variance in audience perception. This confirms that stylistic individuality is rooted in a stable cultural logic, creating a “fused style” that is neither purely traditional nor entirely modern.

6.2. Theoretical and Practical Implications

Theoretically, this study contributes to an expanding body of scholarship advocating for non-Western epistemologies in art research. It introduces a “critical translation” model, whereby traditional philosophies like Confucianism are understood as dynamic rather than inert relics, capable of addressing contemporary issues such as postcolonial trauma, cultural dislocation, and material decolonization. Redefining Confucianism as a meta-framework rather than a stylistic template challenges binary distinctions of East versus West or tradition versus modernity.

Practically, the findings provide actionable insights for art educators and cultural policymakers. The finding that familial influence surpasses institutional education highlights the need for curriculum reform that integrates local philosophies as critical methodologies rather than mere decorative content. For policymakers in multicultural contexts like Malaysia, this underscores the potential for vernacular traditions not only to sustain identity but also to foster globally informed artistic expressions.

6.3. Limitations of the Study

Despite its strong methodology, the study faces several limitations. First, its geographic focus is solely on Malaysia, and its cultural insights may not be directly applicable to other diasporic settings such as Singapore, Taiwan, or Western Chinese communities. Second, relying on student respondents for the survey may bias perceptions towards younger, academically trained viewers. Third, the interview sample (n = 5) cannot represent the full range of stylistic and ideological diversity within Malaysian Chinese painting. Finally, although the symbolic analysis was triangulated, it remains vulnerable to interpretive bias—a standard limitation in all qualitative visual analysis.

6.4. Future Research Directions

Building on these limitations and findings, future research could explore the following areas:

Cross-Cultural Comparative Studies: Carry out comparative analyses between Chinese diaspora artists in various international regions to examine the universality and contextual differences of the “meta-framework” and “critical translation” models.

Audience Reception Beyond Academia: Broaden the demographic span to include different age groups, ethnic backgrounds, and non-specialist audiences to identify wider interpretive patterns.

Longitudinal Case Studies: Follow the development of emerging Malaysian Chinese artists over time to observe how their understanding of Confucianism and visual approaches evolves across different career phases and sociopolitical landscapes.

Interdisciplinary Philosophical Integration: Explore how Confucianism interacts with other regional philosophies (such as Taoism, Buddhism, Islam) to form a layered, syncretic aesthetic tradition within Southeast Asian contemporary art.

This study has reconceptualized Confucianism not as a fixed ideological relic but as a lively cognitive framework—one that can be critically reinterpreted through art. Malaysian Chinese painters, instead of merely replicating tradition, are actively transforming it, navigating the space between cultural inheritance and creative innovation. In doing so, they present a compelling model of how local philosophical traditions can be rearticulated into globally resonant visual languages. These findings contribute a new theoretical perspective to the global discourse on decolonizing art history, underlining how Southeast Asian Chinese art can develop a distinct, reflective, and critically engaged voice within contemporary culture.