On The Weirdness And Peace Of Wu Bin 's Figure Painting And The Influence On His Creation

Wu Bin is in late Ming Dynasty, a unique and very important painter. His landscape, figure tailor the Qijue ancient and renowned painting, he is good at poetry, devotion to Buddhism is a multi talented painter. Because of its masterpieces rarely, and most of them have been scattered around at home and abroad, research of text information is also relatively limited, so for understanding and cognition of Wu Bin by constraints and limited. With Mr. James Cahill, the scholar in the United States in the late Ming Dynasty painting research repeatedly talked about Wu Bin, and his style of painting and do some research work, there are more and more people began to pay attention to and study the art of his painting. Wu Bin’s paintings debut in Fujian, Zhejiang, Jinling, and was summoned to the capital after called to travel the Shushan Shu, and eventually formed a highly personal style of painting language and aesthetic characteristics. He and the same era of painting and calligraphy(such as: Mi Wanzhong, Dong Qichang, etc.) also have a lot of past. Wu Bin’s figure painting handed down more than 20 pieces and Buddhist theme, is the most famous for his "five hundred Arhats scroll", the painting Rohan images regardless of the pitch of sitting and lying, image and expression exotic can say unprecedented. However, Wu Bin in the seemingly bizarre character modeling is in search of a solemn quiet far from the ancient taste, this strong pursuit of style and advanced aesthetic orientation for the creation of the contemporary Chinese painting will undoubtedly have a important reference value and profound enlightenment significance.