The Ink Character Painting In The Cultural Revolution

The Cultural Revolution is an important and special one in Chinese history. The arts have its own unique style as a result of the political movement. As a political tool, its guiding ideology betrays the arts law largely. The Chinese painting in the Cultural Revolution cast away the traditional soul and largely drew on the western realism either on the form or the content to express the "fiery-hot revolution life". It is the same with the ink. An undue emphasis was placed on the political service. Having paid too much attention on the theme and content, it neglected the form of arts. The arts routes were made to serve the class. All these above mentioned fettered the painters' creation and freedom. However, it is still an important link in the wash development in the Chinese arts history.This paper refers to the features of character painting from the sculpt, composition and technique in this period. This paper is roughly divided into three chapters. The first chapter generally relates the ink character painting in the Chinese new arts environment after the Liberation and before the Cultural Revolution, i.e. the appearance of the wash character painting of the innovatory painters, represented by Xu Beihong, and the development situation of the wash character painting in New China. The second chapter narrates the general characteristics of the ink character painting in the Cultural Revolution from the arts creation, the influence of this special period and the features of the female characters in the Post-cultural Revolution. The third chapter verifies the big influence of the ink character painting of Cultural Revolution on the one after that from the transformation of the ink painting and the resume of arts ideology, theme and artistic expression.The ink character painting in the Cultural Revolution expresses very little about the traits of Chinese painting: calligraphy, random penetration, gout, permeability and spaciousness. To avoid the cruel political criticism, many painters tries their best to adopt the realistic sculpt, scientific perspective and line sketch. The writings depended on the expression of the structure and the color was even cleaner and richer. The shatter of the Four Gang in 1976 made the painters delighted in a desperate situation. The painters expressed the historical triumph with a great passion, but they still continued the habitual routes of the past 20 years. The whole arts field after the Cultural Revolution followed the line and technique. However, great changes have taken place more or less on the matter and content of many paintings with the development of political form.