Emotion And Form Of Contemporary Ink-character Painting Creation

Herbert Reid, an well-known British artist, once said:"Art is an emotional system, which is the seedbed of producing beautiful forms. " Susan Lange once said, "Those tasks which have difficulty with the language, showing feelings and emotions with nature and structure of the task activities can be done with art. " Works of art essentially is a form of emotional expression. It is the performance of human emotions essence. Personal subjective emotional expression is the basic purpose of artistic creation. From the functions of art of painting, emotion is the source of painting spirit and also the art of life in painting. From the Angle of creation, emotion is not only the medium or bridge connecting from life to art and the main factors constituting the content of works, but also the direct impetus of the art creation. Clive. Bell said:"The artist's feelings only through the form of performance, because the only form of aesthetic emotion to mobilize. " Wu Guanzhong's point of view is:the most things about painting is the art form, artists do not speak form, it is worthless. Painting as a visual art, the audiences communicate only through works in the form of picture effects, or artist exchanges. In this sense, the form is like the carrier to make such hidden emotional elements to the performance. It is not difficult to see, right form is not only caused by the important factors of aesthetic emotion, is also a painter of expressing emotions. Form as the emotional bridge between the audience and the artist, a painter external emotion materialized.Ink painting, which is regarded as a mainstream form of Chinese painting, occupies a very important position. A high character ink painting is facing an enormous challenge because of the development of society, especially the popular cultural consume-trends and the current exhibition system. Sometimes the western-style languages are directly applied into the creation of ink painting, and sometimes ink painting fully commits to the exploration of form in order to get advantages in the exhibition system. Sounder the circumstance of civilization in contemporary art market, painters usually face a lot of temptations and ignore the authenticity of emotion, they just mechanically reproduce their own or other people's form of language. Therefore, when facing the painting? In this regard, we can get through the history of ink painting, from there, we analyze and find the rules of creating ink figures. In this paper, the author will regard the relationship between emotion and form as a clue in order to explore and get the theoretical retrospect from vertical dimension and lateral dimension.The paper is divided into four parts. The first part mainly describes the important relationship between emotion and form, as well as how the changing contemporary culture context impact on the ink figure painting, which have two aspects to describe, namely the creative subjects of ink figure painting and viewers of ink portraits. The second part discusses the collision and state of emotion and form during the historical development of ink figure painting, This kind of state can be divided into two periods according to the emotion types and forms:one is, about 85 years ago, almost all of the country's art are in a loss of self-state. In a political artistic atmosphere, ink artists created characters almost around one center, they showed up the single form. Under the theory that art was only for policy, the collective ideas and emotions'trends reached an amazing consensus in ink painting creation. And also, in different periods, the emotion orientation in 85 year later, ink artists of this period showed up some uniformity and collectivity in overall emotions and concepts. However,85 year later, painters began to pay more attention to the expression of personal feelings. They came to describe the inner emotion but not the realistic objects of the portraits. Thus, because of the individual differences of artists'emotional experiences, painting styles have undergone tremendous changes, which is changing form realism-based form of language to diverse forms of language. Until now, through artists continually exploration, ink painting has got varied forms and shows a strong trend of diversification on the typical cases of ink painting's emotion and form. After the analysis and demonstration, the author naturally got a conclusion:a good ink painting creation is the integration of emotion and form. In the forth part, it returns back to the contemporary context and describes how to create an ink painting. In this section, the author uses artists'personal aspects to prove the point:ink painting creation is the integration of emotion and form.By analyzing the relationship between emotion and form in current context, the author uses comparative research to describe the state of emotion and from in the development of ink figure painting. Theoretical results finally are implemented in practical creations, the conclusion will be useful for the later creation, making the painting more effective.