Modernization Of Chinese Rreehand FigurePainting In 20th Century

Taking the Chinese freehand figure painting in 20th century as the research object, the paper authentically makes a portrait and analysis of general situation and characteristics of its development from tradition to modernity in the stage, relationship between modern Chinese freehand figure painting and the great social cultural background, by adopting research methods of fine arts history and other relevant areas for reference, philosophy, aesthetics, sociology, to name a few. Moreover, employing the objective law of the art development, the paper attempts to prove that art is a creative production of era. This is also a conclusion drawn after carefully rethinking the existence and development of modern Chinese figure painting in the article.Introduction, body and conclusion make up this article. Body consists three sections. The first section discusses the background condition of Chinese freehand figure painting during modernization, and makes an analysis of the traditional Chinese freehand figure painting, which declined to a terminal early in 20th century. The analysis is made mainly from two aspects: the external-restriction and self-discipline of the art's development. For one thing, change of the great cultural background requires and impels the innovation of traditional Chinese freehand figure painting, which is proved by the social restriction of art's development. The internal reason is the downfall of the feudal society, on which the existence of traditional Chinese freehand figure painting relied, and the all-round crisis brew by contradiction between feudal culture and social development; and the existence reason is collapse of the inherent, systematized tranquility of traditional Chinese painting, as the result of the collision with foreign cultures. For another, defection of traditional Chinese freehand figure painting calls for an above-history breakthrough strongly, which is proved by the self-discipline of the art's development. "Defection and short-charm" of the traditional Chinese freehand figure painting reverses the aim and purpose, therefore adownfall of traditional freehand figure painting is unavoidable if the transformation of traditional Chinese freehand figure painting in the beginning of 20th century inevitable.The second section expounds the process of Chinese freehand figure painting to modernization. Taking social historical background and focuses of debates on Chinese art this stage into account, it gives us reappear the important history during Chinese freehand figure painting's process toward modernization, evaluates its theory and practice of content, form. Skills during development, explores reasons of promotion to traditional Chinese freehand figure painting's innovation, studies the main schools and representative personages in different phases, investigates its historic meanings and looks into its transformation in new era. This section is elaborated in three stages: period of initiative experiment, period of exploring development and period of diversified prosperity.The third section is the rethinking on the process of Chinese freehand figure painting toward modernization. Seeing in the angle of art's development, this article attempts to prove that art's development is the self-discipline pursuit under social life restriction. The paper finds the historical evolution of Chinese freehand figure painting just a firm identification of the law. In details, this paper elaborates deeply in two aspects: the close relationship between art and life, dialectical unity of inheritance and innovation. Then such conclusion was drawn that in artistic creation we must pay great attention to the artists' going deep into life and their self-improvement on accomplishment. And to meet the urgent need, solution to the harmonious development of mould and drawing is an important matter bearing on the self-discipline development of modern wash figure painting.