Image Of God

Chinese traditional ink painting portraits of a peculiar manifestations although it began in the Tang and Song dynasties, but in some of the early pottery and petroglyphs in a new era when the device is already showing portraits of features-image modeling. Eastern Jin Gu Kai proposed a " vivid " theory, laid the foundation of traditional aesthetics portraits, since then," to write to God,"" Vivid " has become the Chinese figure painting and comment requirements. Under the guidance of this concept, ink portraits constant development and change, enrich and improve gradually, forming a unique painting system with oriental characteristics and by the people’s attention and love. Since Chinese painting into the modern, Western realistic painting of traditional Chinese ink aesthetic standards brought no small impact, but also caused a series of problems, and how to complete the transition from traditional to modern, how to choose the Western aesthetic ideas and styling means, how to develop Chinese painting on the basis of inheriting and innovation, these issues revolve around a point, how to maintain the " spirit of Chinese Art " is an important issue in the development of innovative Chinese painting. With the new era of exploration and development of Chinese painting and modern Chinese painting manifestations and traditional Chinese painting had a great difference. Integration of Western painting realistic factors that express the essence of the artist to re-emphasize the spirit of objective objects artistically,"vivid " is the pursuit of ink portrait, along with a wide range of modern aesthetic theory development also makes traditional " image" to promote aesthetics while rich in new aesthetic value.In this paper,"image" aesthetics of the historical development of longitudinal and transverse realized various artistic fields, explore the aesthetic image of the painting, and then study Figure Painting "image " concept and ink performance modeling language from two aspects.