Thinking Of The Evolution Of Ink Figure Painting’s Formal Language

Ink figure painting has left behind the precious art treasure for us inChinese painting history. The development of ink figure painting experiencedthe emergence, development, prosperity and decline. Ink figure paintingshows obvious particularity in the process of its development, such asmodeling, pen and ink, which has a huge change. This is not only a classicself-improvement, but also a giant leap of that time. Looking back on thewhole painting history, we can see that, with its own unique aestheticorientation, ink figure painting has become the research target for manyexperts and scholars. And the innovation in form has also become the innervitality of the ink figure painting.This article consists of four chapters. The first chapter sorts out thetraditional ink figure paintings’ formal language, analyzing and exploringfrom the background of the traditional Chinese ink figure painting and itsown development regularity, combined with the masterpieces of the ancientChinese figure painting to show the periodical characteristics ofmanifestation based on philosophy, modeling, as well as pen and ink.The second chapter, employing the perspective of factors changingformal language of the figure painting ink as the breakthrough points as wellas the point of history, emphatically analyzes the significant impact ofwestern painting concept on Chinese traditional painting theory and themodeling approach, which make it necessary for the further development ofink figure painting to combine "image modeling" rule under the theory oftraditional philosophy and western scientific painting under the rule of"realistic style " closely with each other.The third chapter analyzes the concept of modern Chinese ink figurepainting form language update and subject to many factors. We first need to understand the inner spirit of contemporary ink figure painting modeling, andlook for a proper fusion point between the form of pen and ink and modelingmethod, as well as set up a correct conception about modeling. In order tokeep its own unique painting characteristics, ink figure painting creationneeds to absorb western realistic thought and at the same time inherit anddevelop Chinese traditional imagistic modeling thought in our country.Second, it also needs scientific and reasonable coordination between ink andmodeling, which is the key to the development of ink figure painting. Finally,insisting on the innovation along with inheritance is of the essence. With thedevelopment of ink figure painting, it can no longer meet the aesthetic needsof the masses, so artists turned to western modern paintings, in whichpainters attach more importance to the inner spirit of the characters and theembodiment of the overall artistic conception.The fourth chapter, through the research on painters who makesuccessful transformation in exploring forms of ink painting language study,it shows that factors like emotional factors, and picture-forming factors suchformal language are drawing widespread attention. In this chapter, it also putsforward some views of important theoretical value and practical significance,which have made great contributions to the improvement of China ink figurepainting. The chapter also includes some of my immature experienceaccumulated in the process of ink figure painting creation, expecting that byunceasing learning and exploration, I can add my meager strength to thedevelopment of ink figure painting.Hoping that through the study of the evolution of Chinese ink figurepainting formal language, I can try my best to master its inner and outerdevelopment rules, and can make correct estimate on the development trendof the language of ink figure painting forms as well as put forward reasonableSuggestions.