From "External Learning From Naturalism And Internal Comprehension" To Exposite The Realism And Freehand Brushwork Of Modern Chinese Painting

Since the introduction of Western realism system, the traditional Chinese painting——freehand brushwork has been influenced and went back to the stage realism. After nearly a century of transformation, the art practice has achieved remarkable success. Moreover the Chinese traditional painting has been improved from its divorcing from the reality and ignoring the modeling. It highlighted especially in water-and-ink figure painting the characteristics of realistic modeling. However, we also found that we learnt more from the Western and lack of carrying forward our advantages in this process. Therefore, how to maintain the unique artistic charm of the Chinese nation has become a keystone in our tireless exploration and reforming and innovating.In this paper, we have examined the "Form" and "The expression of vivid" sequence in traditional Chinese painting, based on the deeply analysis on its transforming from realism to concept itself. Based on Zhang zao's traditional aesthetic theory that"external learning from naturalism and internal comprehension", On the one hand, our aim is to getting the intersection of comparison both on Chinese and western philosophy origin in traditional realism. On the other hand, we set the exploration influenced by China and the western as an example, linking theory with practice, the traditional Western realism ways to reflect realism and modeling are used reasonably in traditional Chinese realistic framework system. Furthermore, we make foreign things serve china virtually in this process. Only relying on Chinese culture, a modern Chinese painting being full of "concept itself spirit" can be created. In this way, the unique charm and the nation's fresh flavor of the times would be showed perfectly, and the "concept itself spirit" would accord well with China's own painting character and requirements of times and community.