Study On The Form Structure Of Contemporary Urban Ink-portrait Painting

With the continuous development of Chinese urbanization, the ideological concept undergoes profound changes, so does the people’s aesthetic tendency. As a result, a large number of urban ink-portrait paintings come into being, along with many works of art reviews. The focus of this paper is the form structure of urban ink-portrait painting. It analyses the development vein, the organization mode, the characteristics and the worth-learning experience of contemporary urban ink-portrait painting, making it more diversified in the future.This paper is divided into three parts.Part one briefly describes the development vein of contemporary urban ink-portrait painting.Part two is mainly the stress of the whole thesis. It analyses the characteristics of contemporary urban ink-portrait painting by taking the works of contemporary urban ink-portrait painter as examples. The implication of these characteristics, namely form structure complanation, spatial replacement and combination, and spatial segmentation makes the pictures show a richer visual perception effect.Part three is the implication and reflection of form structure of contemporary urban ink-portrait painting in art works. By analyzing and reflecting on the problems encountered in the course of creating, the author of this paper makes a further exploration in form structure of urban ink-portrait painting.From the above three part’s discussion, the author finally draws a conclusion. The exploration on the form structure of contemporary urban ink-portrait painting has a positive and practical significance, and is beneficial to its progress and development. Being at its developmental stage, contemporary urban ink-portrait painting faces both opportunities and challenges. The richness of the contemporary urban ink-portrait painting’s form structure pushes the diversity of the formal languages of ink-portrait painting. However, in the process of innovation, it will inevitably encounter some problems, such as the conceptualization of forms and disjunction of contents, which requires us to take tradition for references, accept challenges, develop advantages, and avoid disadvantages. In conclusion, the form structure of contemporary urban ink-portrait painting needs people to break the existing models and thinking and think out of the box in order to achieve a powerful extension of artistic vitality. More exploration on this topic is still necessary to make the form structure of contemporary urban ink-portrait painting diversified.