Inheritance And Reformation- New China Seventeen Years Ink And Wash Figure Painting Research

Seventeen years after the establishment of People’s Republic of China era in the history of modern Chinese art is a special time; it refers to an artistic development during 1949, in which year People’s Republic of China established, to 1966, when Cultural Revolution began. In the process of transition from tradition to modern, there are both heritage and innovation. The change during the seventeen years was mainly due to two reasons. One was internal. It was the need to develop the art, including the innovation of skills and self-regulatory role of national artistic deveploments. The other was external. External factors included two aspects. One is the intervention of politics and policies on themes and functions; second is the impact of art arguments and art education on painting under certain historical circumstances.Seventeen years of the People’s Republic of China ink figure painting was from the realistic background of "a realistic transformation of Chinese painting" and "sketch is the foundation of all modeling" in the beginning of the century. It is characterized by both innovation and heritage; the very important point is to abandon inheritance of literati painting. Literati Painting is an important part of Chinese traditional art. Since we have to accept the cultural heritage, you cannot get around this issue of literati painting. In the early 20th century, realistic ink portrait, represented by Xu Beihong, showed the tendency of "value sketch, disregard ink." It advocated the Western scientific real ism painting performance techniques and ignored the traditional Chinese literati painting ink tradition. During the early days of New China, the purpose of art was "for socialism", drawing more attention to the content and subject matter. Literati Painting was considered to be the formalism and feudal culture and was marginalized. With the national policy adjustments and Chinese painting’s developments, the form of Chinese nationality painting recovered. The greatest value of ink portrait during Seventeen Years lied in the return of the traditional pen and ink, which was a rethinking toward 30s-40s ink portraits. It examined the tendency of emphasizing realistic modeling and disregarding pen and ink during the early period of Western integration. The greatest value is to reverse the philosophy to national standard. The artist group, North Central Academy of Fine Arts was its center, perfectly integrated line drawing, the traditional Chinese painting style, with Western realism style; meanwhile, they complemented by a dry wipe pen cracked, creating a vigorous, deep effect. In the south, known as "Zhe figure painting, " the artists who were committed to the process of nationalization of the return of ink applied the impressionistic flowers and writing skills to portraits; as a result, it appeared a moist and poetic version. Whether the north or the south, their common feature was to emphasize the "linear" feature of traditional Chinese painting, which was an echo of national skills and conception of literati painting pen and ink. The value of pen and ink portraits of seventeen-year lied on the echo of conception of literati painting and rethinking of "value sketch, disregard ink. " Its meaning was to make integration of contents and forms, fusion of modeling and ink. As a result, we can have a more rational attitude toward "Western integration" and modernization. If Chinese painting transits from the traditional to the modern form, it must be based on ethnic, innovation and pursued the new road in the history.