| As the west modeling philosophy and education in a multi-faced three-dimensioned state infiltrating into many areas of contemporary people, the concept of understanding the modeling philosophy of Chinese figure painting is still the most intense diversification area among the controversy over the Chinese painting's aesthetic ideal. In the character modeling process, what should be used,'written by Maung Figure'or'amazing deformation', the traditional modeling way'a vivid expression in eye'or western'anatomical structure'? Which is more important,'form'or'meaning'? According to these various questions, we realize more and more that the impact of Eastern and Western art is mutual and the Eastern art should be based on its own traditional culture, maintaining the confidence to develop and promote the traditional civilization treasure.If one concern about the development of Western painting, it will have no difficult to find that the shadow of Eastern art can be seen in many schools'works after the impressionist school. They no longer pursue real presentation but begin to have the courage to abandon the strict proportion and perspective, turning to look at themselves anew and showing unprecedented subjective impulse. Matisse makes the picture present great tension with the skill of strong bright color and simple shape form and covers the cool of Western realism effectively; Picasso makes the complete painting image be mercilessly torn with the skill of sharp, scattered images and simple, tough colors; Chagall pulls the real painting image into a new space full of charm and enchantment with the skill of nomadic heads and spooky colors- all of these are neither incidental nor let the people have a strong sense of Eastern art's returning. For the Eastern art, the subjective performance is already an old topic and for human nature this can be said something similar to'all roads lead to Roman'. In the stage of contemporary culture integration, it is necessary for the present artists to base on themselves, treating the ancient people as teachers, taking the Western art as an example for the purpose of constant innovation and enrichment.First,In the history of Chinese painting, the figure painting experience the embryonic period of silk painting and stone relief (brisk), reaching an acme period, and after that the glory of figure painting is covered by the unprecedented prosperity of landscape painting and flower-and-bird painting. However, with the figure painting's declining tendency, the late Ming Dynasty's old-fashioned figure painting which present vivid era characteristics and as well as reserve the ancient features emerge suddenly, becoming the contemporary model of excellent artistry and even influencing the painting after many hundred years to the extent that even folk arts and crafts try to imitate. The old-fashioned figure painting has become a common practice finally and among which Chen Hongshou develops a new trend of figure painting with the skill of extraordinary and refined style, exaggerate deformation and decorating figure modeling. His figure painting is characteristic of Chinese traditional artistic feature as well as distinctive and original creativity, showing Chinese painting's thriving vitality successfully. This paper is based on Chen Hongshou's figure painting, exploring the formation and evolution of artistic style tracks and striving to reveal the impact of mental course on figure modeling, which coincides with how the present artist deal with and promote the internal and external contradiction of creative development.'Following the ancient's steps is neither confined to one generation nor accepted or rejected by one generation; respecting the ancient is neither azonic to one faction nor cites the ancient as the example; all of which are ways for Chen's housekeeping, and indeed his works present the skill of Jin, Tang, Song and Yuan Dynasty.'Chen Hongshou treats the ancient people, the craftsman and his own experience as the teacher. From his works we can see that the traditional culture has a profound edification even spreading to his bone sparrow. The model of ancient pottery and bronze, the decorative patterns frequently appear on the painting and the figure image's geometric generative consciousness in stone relief (brisk) can be seen from his printing. The celebrities'slender and elegance in Wei, Jin Dynasty, the demureness and calmness of the painting in Tang Dynasty, the fluent and force of the painting line in Song Dynasty are all vivid in people's mind, which make Chen's figure painting not only has origins but also benefit the later generations. We can see the shadow of Gu Kaizhi in Jin Dynasty, Zhou Fang, Wu Daozi in Tang Dynasty, Guan Lin at the time of Five Dynasties, Li Gonglin in the Northern Song Dynasty from Chen Hongshou's figure painting model. Chen forms his own unique features by learning the ancient people's great achievement and blending his own disposition, leading the painting style of contemporary era and even several hundred years later. Of course, the active exploration towards the modeling language of the painters in his generation also provides abundant resources for Chen's painting, such as, Xu Wei's'cold water pouring the back', Ding Yunpeng's ball contour; the majesty of Xu Bin's Buddha figure; Cui Zizhong's unique dynamic figures and other painters'various attempts towards linear language all give Chen Hongshou subtle inspiration and enlightment. It can be said that Chen Hongshou's painting style influences countless figure painter for about five hundred years, among whom Ren Bonian, Fu Baoshi, Cheng Shifa are the most excellent ones. From their painting we can easily see that it is their creative spirit that make them successful not the pure expression skills. During Chen Shouhong's about fifty years artistic life, his painting style changes consonantly, but what remains the same is the'old-fashioned'through his traditional works, and there is not only'old-fashioned'but also'new-fashioned'elements in his artistic expression. The modeling change of Chen's figure painting shows his understanding towards tradition and reality, which is no doubt worth learning by contemporary artists.Second,After Ming and Qing Dynasty, literati paintings occupy a major part of the painting world, Dong Qichang advocate landscape painting's'the Theory of South and North Sects', making the landscape painting unprecedented prosperous. The scholars and personages, as well as the country gentlemen and bureaucrat, almost all put their emotion into the landscape and pursue literary grace, which make the landscape painting reach a perfect glorious stage while the figure painting have a tendency of decline. Right at this time, based on the trace of ancient people, the figure painting's style and feature bring the figure painting thriving vitality and open a new stage. Cui Zizhong and Chen Hongshou are two leading characters. Chen Hongshou was born in the twenty-sixth year of Ming Wanli (December 27, 1598 according to the lunar calendar, February 6, 1599 according to the solar calendar.) and died in the ninth year of Shun Zhi Qing Dynasty(the year 1652), which was a declining period for Ming Dynasty. He personally experienced a period of time when the treacherous officials were in power, the states became extinctive, the alien races invaded and the fellow officials were utterly isolated. It has been said that Chen Hongshou is not only good at painting but also at poetry and calligraphy. Chen's poetry which relate closely to life express his grand ambitions and frustrating life and then is compiled to'Bao Lun Hall Collection'; his calligraphy which is unique, Guzhuo as well as delicate has up-and-down character structure and peculiar rhythm; Chen Hongshou's great accomplishment in poetry and calligraphy reveal that his painting language is based on deep cultural literacy. Chen's paintings are most outstanding, being proficient at landscape, flowers, birds and figure especially the figure painting. Chen's modeling style is quite different from the fine, smooth style and delicate gesture of Tang Yin and Chou Ying in'Wu Men'which is very popular at that time. Chen derives precious sources from the figure painting in Jin, Tang Dynasty, developing a peculiar and mysterious style; he seeks inspiration from the folk opera, making the figure more vivid and fresh. He has been said by later generations that'his accomplishment is above Chou, Tang, and in the three hundred years of Ming Dynasty no one could surpass him'.Third,This paper focuses on the issue of Chen Hongshou's figure painting modeling, exploring the law of his figure painting modeling's development and change according to his four periods of his life, the accomplishment and the era background. Chen Hongshou's figure painting modeling language is discussed in detail, exploring the change of figure modeling of his different creative period and the relationship between his value orientation and historical background in order to explain how he obtain the new experience in dealing with the figure painting modeling based on ancient people's trace. Chen's figure modeling becomes a new force in late Ming Dynasty when the delicacy of figure painting modeling is in a downturned state. From the divine, fairy air in the early Buddha and God painting, to the various'genre painting'which is overripe in mind in his middle years and then to the mysterious and peculiar style because of his downheartedness in his twilight years, we can see that his figure modeling is always in an elegant style with a vivid character and all of which make Chen not only popular interiorly but also overseas, influencing the painters and craftsman deeply in later ages. All of these are not incidental but the concentrated reflection of Chen's profound accomplishment and real temperament. In this paper I will explain the characteristics of the figure modeling from the following aspects: 1) the cultural origin of Chen Hongshou's learning the ancient; 2) the contradiction and suffering between sensitive temperament and practical responsibility; 3) the variety of Chen Hongshou's figure painting: the gentlemen and the scholars, the celestial and the ghosts, the valiant and the officers, the palace maid and the actress, the fishing men and the boy, almost covers everything; 4) the figure paintings of young men with divine skills, sturdy modeling and lively characteristics; 5) the celestial and Buddha paintings in the early years with refined and ultramundane skill; 6) the painting of strong and young figure with various types and the unity of form and spirit, highlighting the abundant, amorous human charm; 7) the beyond description, gentleness and broad-mindedness in his later works, which is a straightforward modeling of unity of material and human being; 8) the concept that basing on the ancient's steps and developing a school of one's own influence the later generations. In the process of learning systematically about Chen Hongshou's figure painting, the figure painting's modeling characteristics and origins, the artistic form, the aesthetic values and the historical influence are paid special attention to in order to explore the inheriting law of artistic modeling in a deeper level and the creative idea. This paper aims to inspire the painters to derive nourishment from the traditional Chinese figure painting, establishing aesthetic idea which is not only based on the ancient's trace but also up to date. Sincerely hope that this paper will give some revelation to the modeling problem of Chinese figure painting nowadays.
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