Freehand Theory

"Freehand" discussed in this paper refers to the art spirit through the continuation of traditional Chinese culture and arts, and does not mean the techniques of freehand brushwork in Chinese painting ,and they are not the same concept.The spirit of freehand is reflected in all aspects of Chinese art. Chinese poetry, drama, architecture, gardens and so on have a distinct tendency to the freehand art. In this paper, the spirit of Chinese art freehand are studied from the perspective of the plastic arts.The paper introduces the definition and history of the spirit of freehand; and puts the development of the spirit of freehand in chronological order . The author believes that the spirit of freehand in Chinese plastic art, has shown one after another peak and promoted the continuous development of art with the development of human history.If the rock paintings and pottery retained the inherent thinking of delay imitation in the human memory, then bronze in the Shang and Zhou dynasties has done much practical experience in the art form intentionally.The Tang, Song, Yuan, Ming and Qing's scroll paintings have developed the spirit of freehand to a great extent in theory and practice,Followed by scroll painting, is to. Especially the freehand brushwork in the Ming and Qing Dynasties even embodied the spirit of the art of freehand. China paper, as the special media of material, has increased the unpredictability and randomness of the process of painting , and resulted in the unlimited richness and non-copy nature of work. China paper , has offered the materials for the image exceeding the painting and the unfixed principle , and created more space for the freehand spirit of the plastic arts.The literatures involved in this paper include the theory on the "paint", "image" and "freehand" in ancient literature criticism, calligraphic theory, painting theoryand , as well as relevant information on artists and art works . And then this paper explores the essence of the spirit of freehand——"freehand", is aesthetic tendencies and creative methods in the long-standing Chinese plastic art. and thus forms a complete set of freehand aesthetic theory.In particular, the aesthetic concept of freehand in traditional Chinese painting has impenetrated throughout the all fields of Theory of Art Function, Creation Theories,Assessment Theories, theme Theories.From this we can see the spirit of freehand penetrating in the plastic arts of China, also master a complete and systemic freehand concept of the plastic arts in China.After introducing the history of the freehand theory, this paper reviews the development process of Chinese art within 200 years, and questioned the art system of copying the Western model.Drawing lessons from the antient theory,this paper points out some of the problems departed from the spirit of freehand in the development of modern and contemporary Chinese art, and made recommendations for the development of Chinese art.The author believes, the spirit of freehand is an important feature of Chinese art,and it has an extremely important practical significance to research and establish China's own excellent theoretical freehand art system for carrying forward traditional Chinese culture, especially adapting to the current worldwide cultural exchange.At the same time, this paper has also probed into the aesthetic life value implied in the spirit of freehand ,and indicated the spirit of freehand spirit as the ultimate direction and goal trace in the development of the arts world. Whether it is the development of Chinese art or the western one, it will be attributed to freehand. The Freehand art has unlimited creative space and vitality. From this standpoint, freehand belongs to China, also the world, and it has global significance.