Fusion And Innovation

Beginning with the all-around observation of traditional Chinese realistic figure paintings of Tang Dynasty, which is the flourishing period of ancient figure paintings, this paper introduces a meditation of modern figure paintings and gives a picture of the original relation between traditional and modern paintings. Assuming the comparison of artistic language as a guiding outline, this paper carries out an intensive research of case comparison from such aspects of conception, modeling, lines, coloring, composition and painting style, based on a great deal of excellent ancient and contemporary realistic figure paintings. It is expected that a clear overview and concrete landscape can be made for the contemporary realistic figure paintingsyto succeed and renew ancient traditions in order to acquire a broader historical background and future prospect.By way of investigating into the classical masterpieces of representative painters like Wu Daozi, Yan Liben, Zhang Xuan and Zhou Fang of Tang Dynasty, we acquaint ourselves with profound historical foundation and human basis, which a modern realistic figure painting should take on. On a basis of the analysis and retrospection of the heritage over a thousand years and by appreciating their traditional connotation, we endeavor to find the joint of traditional and modern arts. However, a modern style of diversity and artistic variety is represented in the works created by the contemporary realistic figure painters like He Jiaying, Jiang Caiping andHu Mingzhe etc, under a background of diversity times. No matter what innovation and development has been made, modern arts cannot be separated from the root of tradition. Only firmly holding the traditional cultural spirits and mastering the expressive yorm of traditional artistic can we acquire an expanding space in modern artistic creation.Based on the combination of traditional and modern arts, this paper has completed, from a certain angle, an understanding of changing history of realistic figure painting, with a focus on the progressive process of detailed expressive skills and with a way of comparison of works in different times. The author also wishes that a common acknowledgement could be reached and an advantage could be given to the further development of modern realistic paintings and heavy-color paintings.