Freehand Brushwork And The Spirit Of Chinese Calligraphy And Painting Freehand Brushwork In Traditional Chinese Painting Study Of Interoperability

“Impressionistic” is not a new word to many people. Throughout the ages, it is often active in allaspects of cultural and artistic theory and classics such as calligraphy, painting, architecture, art, literatureand art. However,“Impressionistic sculpture” is a new word, and it is hardly to tell when it did begin touse, what we know is that this word gradually appears in sculpture theory and comments in the past twodecades, especially frequently used in recent years. It is inseparable from the development backgroundsocial ideology of contemporary Chinese sculpture. The integration of the world economy, culture and artsof the East and West mingled with regional nationalism increasingly highlight its significance.Contemporary Chinese sculpture has a history of three decades to seek long-term development, mustpossess the power of dialogue with the Western culture and the arts, the establishment of this right tospeak closely related to the nationality of its culture and the arts. Therefore, the classical Chinese culturein many important areas of aesthetics is a matter of course to become a powerful weapon of the Chinesecontemporary sculpture to the pursuit of national character. All of a sudden, sculptures with the Chineseclassical elements or ancient symbol appear as if springing amazing debut. But most of them fall into the"misappropriation" and "symbolic" equation quagmire unable to extricate, only a very small part of theworks of a successful reorganization to break through and become the side of the glorious banner ofContemporary Sculpture nationalization. One of the most striking is the “impressionistic sculpture”.Nowadays, copies can be seen everywhere, how can impressionistic sculpture becomes a pioneer ofChinese Contemporary Sculpture of exploring the national character of a model? Where is the vitality ofimpressionistic sculpture? It is truly national characteristics of the Chinese contemporary art? What kindof content impressionistic sculpture convey? Herein, I try to organize and analysis these. First, I take"impressionistic" spirit of Chinese calligraphy and painting as the starting point, and analysis the truemeaning of "impressionistic", then through the discourse on the art of the Huo tomb sculptures, I try tofind the relationship between "impressionistic" of Chinese calligraphy and painting andimpressionistic sculpture, thus trying to figure out the point of convergence of contemporary sculpturephilosophy and traditional Chinese aesthetics, and that the freehand painting and calligraphy can referenceand theoretical basis for contemporary impressionistic sculpture. Chinese Contemporary Sculpture whichis rooted in the essence of traditional culture to achieve the docking of traditional and contemporary, toseek more long-term development should pay attention to the following two points: First, handling of the relationship of global and national character; Second, transformation and integration of traditional cultureand contemporary culture. As the representative of China’s contemporary impressionistic sculpture, oldergeneration of sculptors Qian Shaowu, Zhu Ming from Taiwan, rising star Wu Shan and Cai Zhisong, theirsuccessful stories tell us that only by focusing on “intrinsic inherited and external innovation” as a wholepractice, sculpture can develops with getting the essence of traditional art and contemporary art andbecomes contemporary Chinese sculpture with the localization of national identity. Contemporaryimpressionistic sculpture art should absorb nutrients from other kinds of art, a reasonable draw, properintegration into the techniques of modern and contemporary art and creative ideas to promote thedevelopment of Chinese contemporary sculpture towards a healthy and diverse direction.