Freehand Brushwork Figure

People often will regard "fine" and "freehand brushwork painting” as distinct,thinking that "fine" is carefully and neatly, with not too much of importance attachedto "charm", not easy to express emotion; while "freehand" would not be affected by thethe constraints of the "shape", splashing ink brush, often with arbitrary catharsis. Infact, the "realistic" and "freehand" is only different in the form of expression, yet itscore is the same, these two forms are through their own subjective feelings transformingobject into the artistic image, thus “realism” and “freehand style” are perfectly united. Ifthe freehand style painting is not realistic, it will be away from the objective reality. Also,in the same way, if the fine brushwork lacks in “freehand style”, it only ends upmanifesting itself in academic dogma，with no vitality.The "realistic style" and "free style" is not peculiar to China painting, this paper willalso expound the significance of these two artistic forms in paintings from westernpaintings. Any outstanding paintings are a combination of being "realistic" and"freestyle", the either of them being indispensable.Since the particular importance are attached to "realistic style" on the part ofpresent figure training and contemporary aesthetic orientation, the "realism" tend toweaken the core of China paintings---the freestyle spirit. Therefore, only if weperfectly grasp their relationship between "freehand style" and the "realism", can we notonly inherit the tradition, but also create great innovation meanwhile.The author will expound more specifically how “realism” and “freehand style” willbe united in the picture in combination with his own experience of art-creating, thuscreating artworks of paintings with rich and deep implications of artworks of paintings.