The Analysis Of Modern Freehand Brushwork Painting Performance Techniques

Chinese figure painting has come to a brand new era since Xu Beihong and JiangZhaohe. This difference and development can be seen from two aspects, bothexpression skills and artistic prospect. Thus, this article focuses on the topic ofexpression skills of modern freehand brushwork in Chinese figure painting.Part1introduces the topic, research method and concludes the researchachievement. Part2refers to the traditional drawing theory and the latestdevelopment in the past few decades and also reviews the history of Chinese freehandbrushwork figure painting. Part3and4are the key to this passage. The author talksabout structure, brush and ink and color in part3. In terms of structure, Chineseartists study from the western anatomy and prospective, and pay more attention to theexercises of charcoal drawing and sketch as well. The abstract wash painting whichemerged in1980s and the representational wash painting in1990s are both new formsof Chinese wash painting. Their emergence and development has been a big powerwhich pushed Chinese painting to a newer and higher level. In terms of brush and ink,it has experienced quite a long history and has become a unique symbol of Chineseart. Brush and ink theories in ancient times were quite abundant. However some ofthem are criticized after1949. In this part, the author refers to modern drawings todiscuss four common skills. In terms of color, since ancient freehand painting did notvalue color very much, artists in the first decades in the20thcentury emphasizedwestern color’s use in Chinese painting, and also initiated some reformations of thebrush and ink-centered view in Song and Yuan dynasty. In this part, the authorintroduces different kinds of color material, and also points out some issues that oneshould be careful when inking and coloring. Part4analyzes the topic from the angleof the connotation of expression skills. More specifically, this part can be divided intothree aspects, artistic conception, aesthetic and the external and inner beauty. In termsof artistic conception, it is a real reflection of the drawer’s inner feeling and mood. Itis the soul of a painting. As the world is changing, modern works reflect different things, for example, the happy face in this new age or the sadness and boringness inpeople’s tedious life. In terms of aesthetics, Chinese figure painting values intuitionand emotion, and adores a refined and unconventional life style. After finishing thediscuss of part3and4, the article researches the innovations of Chinese freehandbrushwork figure painting from four angles. Eventually, the author refers to some ofher own works and shares her drawing experience. Based on all these, someexpectations are given.