On Line Performance In The Chinese Figure Drawing

China painting has a long history, the lines as the basic elements Chinapainting, as the essence of Chinese painting, with different lines of the westernpainting in the western painting lines to describe the contour of the objects, but inthe drawing China painting, line position is far more than the color, Chinesepainting in the lines can not only the basic structure and profile describe the images,more can through the words "thick""light" and "dry""wet" changes to show imagesof the artistic conception and the artist’s feelings. So that the lines in the Chinesepainting, painting is not only as the most basic elements, but throughout the Chinapainting history, play play a decisive role position. In this paper, the China figurepainting in the lines as the main object of study, also hope that through this topicresearch to understand the deeper emotions color line diversification and artiststhrough the lines of expression. This paper is divided into three parts.The first chapter from the "gas","Yin Yang","Lyric" three aspects to discussChinese drawing lines of philosophical and systematic summary Chinese lines infigure painting evolution. China paintings, only with the "gas" with the lines toshow images through the ink changes flavor. Chinese painting lines also have Yinand Yang, such as lines of "rigidity" and "flexibility","on" and "off""quick" and"slow" and so on, with lines of masculine philosophy is dialectical unity. At thesame time, the author through the line thickness, flexible, quick and slow recordexpress their true inner feelings. From the original "simple and sincere" line to the southern and Northern Dynasties Gu "ancient Tiffany twisted", from the Sui andTang Dynasties "line drawing" and "excellent drawing skills and elegant style" ofthe Song Dynasty highly concise "line drawing" and "pen" descriptive, and finallyto escape strokes law in the Yuan Dynasty "painting homology". Visible, lines inthe China figure painting process changes more and more mature with age.The second chapter mainly from contemporary figure painting of theaesthetic pursuit about lines. With the development of society and peoplethought liberation, in the use of Chinese contemporary figure painting artistsfor lines are more flexible, more abundant. Examples of a number ofcontemporary artists from the "brushwork" and "gesture"’"with three anglesto discuss the unique lines.The third chapter combined with his works on the creation period forlines of sentiment.