The Changing Times Of Inkfigure Painting Language

The traditional Chinese ink figure painting after a long process, greatly improve the efforts of the Ming and Qing dynasties. This rapid growth of Chinese painting, Western art concepts, technology, and the effect spread also greatly shocked impressionistic portraits. Pay attention to the the literati feelings of mood to create, and romanticism impressionistic portraits and China is different from Western painting has the image of resemblance, reliability and a strong influence, especially heavy realism, yet scientific style of painting, traditional Chinese ink painting seems lags behind. Thus, are not limited to the traditional Chinese artists recognize the different ideas of Westernpainting, and want to seek a combination of Chinese and Western methods to promote the furtherdevelopment of Chinese painting. Which appealed most strongly have Kang Youwei, Xu Beihong and others. Xu Beihong, while advocating the improvement of Chinese painting has also vigorouslyexperience, practical action, bold innovation, the introduction of the concept of Western scientificmodeling, the basis of elements of traditional Chinese ink painting, Western painting in the volume,perspective, anatomy and other techniques cleverly blend into China’s impressionistic character performance, not only rich Chinese ink figure painting realist, to some extent, it has been greatly improved.After a new way of thinking, Chinese ink figure painting in the painting style and the style has changed dramatically. It at the same time to learn the modern Western painting not onlyabsorbed Western modernism, symbolic manifestations, draw artistic philosophy of modern Westernpainting, performance practices, pay more attention to realism, which broke through the reality ofChinese ink figure painting ’performance, making traditional Chinese ink painting has a new mental updated. The phenotype ink figure painter precisely by the impact of these trends, starting fromthe Ink material, seize their properties, to find the essence of art soul firmly grasp the intrinsic properties of the ink figure painting, while focusing appreciate self-real feelings and real experienceof life, from different angles, to measure the creation of ink figure painting, modern Chinese ink figure painting has been a great deal of development and improve these positive efforts and attempt s. This article is to try to explore Ink portraits language in contemporary style shift along a mainline.This thesis is based on the overall four chapters explore Ink Figure Painting Language times change, through Article Outline difficult to find articles focused inclined to the second, thirdand two chapters. Ink figure painting course of development and its ink language features the firstchapter, the author outlines the main macro perspective, this chapter covers three aspects of the development of ink figure painting Overview, form features as well as pen and ink language features. Chapter II went straight to the theme, combined with the social and cultural background Ink Figure Painting Language changes after the flooded with the aesthetic concept of change and multiple ink language, to discuss environment Ink Figure Painting language changing times. Chapter III, based on several representative of contemporary painters, as the starting point of its cases to analyze the changing times Ink Figure Painting languages. First discussed in Li Xiaoxuan, Liu and painter, as the representative of their work to the performance of the tension and complexity of contemporary urban life rhythm-based, bizarre and absurd expression by the mentality of urban people, sopainters through unique artistic The language concerned about the contemporary urban deformity life, triggering widespread thinking and concerns, and its profound social significance. Followed forth Tian Liming, looked painter represented distinct their works depicting harmonious, quiet beautifulside of urban life, stresses the modern city of comfort and leisure, fashion and aesthetic. Last highlights Guoquan Zhong and Zhang column two painters, the focus of their work reflects the topicclosely related to daily life. Express sharp and sharp self ink, Guo, Zhang Ink portraits of the twomen show more sensitive to the depth of the current people mind. The final chapter accountableink language is how to change the development in the practice of self individual artistic creation.Painting during the ink language first consider changes to their own circumstances, and learned theessence of traditional pen and ink in a modern and contemporary figure painting, the author, thatis only based on the traditional pen and ink in order to better develop their strengths in practicehave made great progress and development to further artistic acumen and artistic accomplishments.The conclusion reiterated the arguments of the article, to clarify the conclusions of the paper. That explores the language of traditional ink painting Figure Painting the changing times of n ew road, combing the development of the status quo, to understand the achievements of the the academic forefront painters academic trends and their resulting; analysis and research point of viewof the ink language itself not only self-arts The creation technique can be improved, but also helpto enrich their own creative ideas in practice, more practical significance.