Chinese Impressionistic Portraits "expressive" Theory

"expressiveness" on because involves "God" and " shape " the two key factors in painting, has been set aside by the artists. Freehand painting in the painting is not one of the earliest development of painting, but contemporary development but the colorful face. In the face of various styles of painting and for about "God" viewpoint, it is necessary to find the reasons and the existence of God ", so that the master system's painting theoretical knowledge, thinking more clear to do the painting.This article just as traditional portraiture, from "God," the origins of its intrinsic nature, mining to "expressiveness" on the development of procedures, as well as by "God" to "meaning" change discussed "God" and "meaning" in Freehand painting in significance. Article is divided into four parts, used primarily for reference, as well as art history, aesthetics, and art theory, sociology and many other related fields of information and research methods, on China's freehand painting by tradition to modern development, as well as the various stages of the "lifelike" on the development of analysis, is set forth in article based on the review of contemporary, historical, looking to the future, in order to clarify ideas, make learning enjoyable portrait of target.Regarding the "lifelike" on the article is, there are a number of theoretical description of the evolution of development, formation and aesthetic significance, and so on, there is a demonstration of one of the characteristics of the period character, such articles are on my paper with reference and comparison of significance. This article on the "expressiveness" in Freehand painting in expositions from Freehand painting perspective this theory in painting historical role.China freehand painting is the Chinese traditional portraiture from, if you start from scratch to tease their development process, from the Neolithic age pottery character design from the start to Changsha, Hunan, Phoenix and the figure of the unearthed map "and the" character map ", to the yulong Wei Gu kaizhi, Tang dynasty yanliben, and so these figure painting works, although they are mostly in modelling approach is based on the thread, but in the inherent magical expression characters are the method. Then a song of stone Ke, Mr LEUNG kai, who represented the "reducing strokes" appears, it "enjoyable". In the hundreds of years after the character has appeared vulnerable. Until the 20th century of 60 years, there have been many representative painter and style, as Chiang Chao-and, as the representative of the head-shaped pie ", taking the stomach and so as the representative of the party", there is potential to chengshifa as representative of "interest group", and to lizhen kin, Chang Valley, by the representatives of the Zhe School character artist sent "by the head Today's freehand painting, is already a style skyscrapers, performance schema and performance language varies. For example, a reference to the folk art, there are also referred to as new paintings of playing with interesting and relevant to contemporary life of the city of ink. These styles and genres from the performance object, such as color, shape and ink every angle, has its own unique style, trying to break the traditional newer better freehand painting. However, no matter what genre, style, as long as the Chinese figure painting, you cannot deviate from the "lifelike" this thread.