Processing Ink In Ink Figure Painting

In order to better inherit the traditional spirit of ink and find more suitable ink form in modern for the Chinese ink painting form. Better to express the spirit, temperament, dress, behavior and other characteristics of people in modern society. We have to study the formation of the development of ink, the traditional spirit of ink and look for contemporary forms in Chinese paintingUsing ink was gathered several thousand years, countless artists theory and practice experience had collected. It is the crystallization of traditional culture. Traditional Chinese paintings ink forms and content were summed up nearly perfect, but can we direct apply traditional ink form that shaped of people wore gown to the people that wear western-style clothes in modern? The answer of course is no. like Peking Opera performers sing the words and comedy actors say the words, although all meaning and emotional expression, but the form of two lines are completely different. This is the problem we are facing. That is how to transform the contemporary ink form of ink painting of people, and not lose the spirit of the traditional ink painting but make form more accord with the content.First, expound the basis theory of ink, raise awareness of ink.At first Ink is the name of tool, then it become laws for the using materials, then turn into a Chinese paintings unique language form and almost the highest standards to pursuit. Pen and ink in the ink has its own unique meaning. The pen we are talking about is the pen that is in the Chinese painting language, is pen laws and ink form, the key lies in the "bone" has two main points. First, it is bone of operating pen. Second, that is the spirit that the image has become. There are three meaning in ink. First, it is material. And second it standard that is used, and the third is language that the image of the painting have completed. Relation between pen and ink is that ink is less than pen, and they transform each other.There is the quality of tools, standard of ink and pen is like other tools, for example, stick and gun. Using pen is like using other tools. in order to improve the technique of pen and ink. First, we must do much practice everyday. We master the function of pen and ink through diligent training to them. So that Chinese painting language services for the spirit of Chinese painting. There is quality of language in ink. It was unique painting language. It is sum up a lot law of pen and ink. Such as"drops, hooks, Cun, rubbing and dyeing", Huang Binhong had be sum up:" level, stay, round, heavy, change." These are law of using pen."There are five kind of colours in ink."and other ink law. There are also qualities of non-objectivity, non-personal, independent of appreciation in ink. Ink is not objective."drops, hooks, Cun, rubbing and dyeing"are not existent in nature. So there is not objective prototype of language system, not reference of objectivity. They are presumptive by human, they are not personal. Chinese painting language were created by ancient also us. They were inherited and developed in history. They do not rely solely on the shape of the painting. Pen marks have independent of appreciation that are independent the shape of painting. When we appreciate Chinese painting and calligraphy works, we can feel the feelings that flow in Chinese painting and can feel the spirit of life of painter that flow in painting.Second, the relationship between ink and modeling, between ink and traditional spirit of ink, between ink and calligraphy.Ink is not a natural kind of painting language. It is artificially presumptive language. It is also the most important painting form signs. Other factors of painting will be change for ink, and correspond to ink. In Chinese painting in order to keep form for ink, modeling must be consistent with ink installation requirements. Modeling must be a line and plane of modeling. We have line and we have using pen; we have plane and we have ink. The model of painting must be arranged with drop and line. Ink not be detained with drop and line. In Chinese ink painting ink and modeling are two basic forms. They are also important, and their relationship between the unity and opposites are. In short in ink painting we shape images with ink. We draw the feeling that the image give us. When ink better combine with images our works and better success.Traditional spirit of Chinese painting contain with cultural roots of Chinese philosophy and development of Chinese humanistic spirit of the cultural. Laws of ink are practical embodiment of Chinese unique philosophy, the way of thinking, behavior, the relationship between ink and traditional spirit is in heritable and development.In the early stage calligraphy had enriched using ink of Chinese painting. Now we can practice calligraphy skills to enhance using ink. And make our line we are drawing become effect of permeability of the paper back and other visual effect. Whether painting or calligraphy ink, they have a very important thing in common: They also have a spirit through allover ink.Third, Under the inheriting of the ink painting's traditional spirit, look for the ink painting which is suit to contemporary.To draw a traditional Chinese painting need to pay attention to the meaning, style, strength of the drawing, and the way of how to use the pipe and the pen. In this paper, I will discuss the way of how to use the pen by Huang Binhong's pithy formula, which is five words,"smooth, round, stay, heavy and agility". In the aspect of discussing the way of Chinese ink, I will use Huang Binhong's seven ways, which are Thick ink method, thin ink method, burnt ink method, splash-ink method, break ink method and accumulate ink method, old ink method. And I will analyze the ink painting by Ren Bonian, Wang Ziwu, and Liu Guohui's excellent drawings. Analyze how they control the mid-point line, wet and dry strength, the pen's side in inverse points, dividing the border, trends, and other factors in the ink figure paintings , and how to use them to find rhythm ink deal with a variety of paintings, in order to learn their way of how to use the pen in the drawing. In order to exert pen and ink better in the ink painting, we should use the line-surface sculpt when we draw the figure. We can use the charcoal to draw the outline of the body, and deal with the body by light-ink strokes. Don't draw the body too specific, too specific ink will be bound play. Before draw we should observe the model seriously, a general observation on the model. We should have a general grasp on the objects, and formed them to inner image in our heart. From the rhythm of the body, we abstract the rhythm of ink, which is the mid-point line, wet and dry strength, density changes. Ink image is not inherent but through paintings created by the drawer. In the process sometimes "fabricated" and sometimes "turn a blind eye." The created ink need has the expressive force. Figure painting in ink must need a pen, so we should learn the pen ink's theory that our predecessors summarized, and we should use the outstanding works from our predecessors for our painting practice. By the painting practice, we should find an ink form which is more suitable for our modern people dress and personality characteristics. How to depict interesting life with pen and ink.We need to improve the degree of emphasis on the ink. We should adhere to a long time practice hard, master calligraphy skills, how many artists strive it for a life time. In the ink painting figures, what we draw is figure and ink. No-ink image of a figure, there is no cultural identity. No figure of an ink image is only a juggling show. In the ink painting of the figures, we always think how to assembly ink paintings, and how to make the ink and figure to combine better. What ink painting draws is the feeling, but the feeling is represented by the pen and ink. We must innovate on the basis of our predecessors'experience.