An Analysis Of Language Innovation Of Contemporary Chinese Ink Figure Painting

Painting language is used by means of painting artists to express creation ideas. The master on painting language is the measure of artistic level of painters. This is an eternal theme which is discussed and studied in painting domain. This thesis tries hard to study carefully the language aspect that is under the guiding of the spirit of Chinese ink and wash and mainly analyzes the development and innovation of the ink painting language in painting sculpt, color, composition and ink.This article consists of three parts to talk about innovation problems of contemporary Chinese ink painting language. The first two chapters are the more important contents. The first chapter basically expounds the development course and the ink painting language. This chapter focuses on the language analysis of the traditional ink painting and through the Xu Beihong, Lin Fengmian and Zhou Sicong analyses the language innovation of ink painting in the twentieth century.The second chapter focuses on the analysis of the language innovation in contemporary Chinese ink painting. Before we expound the language innovation of the contemporary Chinese ink painting, we must give "contemporary" a clearly definition. I defined the Chinese ink painting as the contemporary Chinese ink painting after the 1990s, in order to carry on the research on below. I firstly give a brief analysis of the contemporary socio-cultural background. Then analyze the predicament that traditional painting language faces at the present times, and then draw forth the language innovation in contemporary Chinese ink painting. According to drawing styles and similar painting languages I classified the artists. In my thesis, a few artists who have influential and distinct personality traits in contemporary painting are emphatically introduced. According to their language exploration of practice on Chinese ink painting we can get a deeply perspective in the language innovation of Contemporary Chinese ink painting from point to area. The first is the expression of nervous rhythm of contemporary urbanite life and absurd urbanite mentality. Li Xiaoxuan and Liu Qinghe express the deformity life of contemporary metropolis with unique artistic languages. This phenomenon has aroused people's reflection and profound social significance. The second is the expression of harmonious and peaceful atmosphere. I emphasize to express the comfortable ease fashiond and aestheticism of the urban people. These artists who were born after the 1970s of the new prominent ink figure painter, I focus on Dang Zhen and Huang Dan. They would like to express topics which are closely related to their lives. They are particularly sensitive to details. Their expressions of subtle feelings further cut into the mind of the modern human. They formed distinct features of contemporary painting language.The final chapter is my view of the history of the innovation of contemporary Chinese ink painting. Their works reveal different levels of age stigma. They developed not only in the creation topics on the development but also in the innovation of painting languages. These are beneficial explorations of the Chinese ink and wash in the new period.This topic is caused by problems I encountered in the process of my practice. I analyze some artists' works basing on practices and theories and add my own artistic sensibility. I hope I can find a breakthrough from their creation process of washing finger painting.