The Language Of Ink City Painting Research

Ink City Painting, which contains the spirit of inkwash painting and the matter of urban subject, is the new content of Chinese traditonal painting. Cities, which are the new product of recent years, bring great changes to human life. Urban life is different from the past rural life. Under the industrialized environment, gradually, people adapt to the unbanizational life and can not get rid of this life style. Chinese artists, living in this changing era, begin to re-examine their own living environment and then focus on the city.After the reforms, Chinese artists have experienced several major cultural change and the ideological trend of art has also been impacted form many aspects. Artists try hard to find their own field in all kinds of voices and want to have a foothold in this changing world. Chinese traditional painting, which has a long history, is the quintessence of Chinese culture. The spirit and content it includes are profound and are loved and pursuited by the artistis. Ink City Painting is the newly-developed painting material in the field of Chinese traditonal painting. This new painting is very young and the research and exploration in the theory and practice of this field still have a long way to go. In this paper, with the attitude of exploring, I superficially discuss the language of Ink City Painting. What are the features of the language of Ink City Painting? These features, which are in accordance with"Taoism", can be accepted in the world of Chinese traditional painting. From the Ink City Painting, we can see that the language of painting has point, line, plane, color, lighting, figure language and geometric painting language; there are alao unintuitional "rhythm" language, image language, abstract language and "urban plot" language. The differences and similarities between these languages and Chinese traditional painting and between them and western city landscape painting are the issues of this paper.