Pen And Ink Changes, But Type Is Essential-The Appreciation Of Zhou Jingxin’s Artistic Language

The road of Zhou Jingxin in art can be summarized with the one word, “Image shaped, brush and ink supreme”. After the trial of fine brushwork and freehand brushwork, experienced Zhou began to know that image will be expressive with a shape. Nanjing has been the home of numerous geniuses since the ancient. Zhou Jingxin is a contemporary painting genius from Nanjing. Outstanding from New Literati Painters, Zhou has been always upholding the enthusiasm and admiration for the art of washing painting, devoting himself into the education and research of art persistently. As a green-hand, Zhou had surprisingly shown an insightful view on washing painting figure. Later, his knowledge on art gradually became extensive and profound. After the continuously improving, Zhou has developed a school of his own. The essay is schemed into five chapters, detailed explaining Zhou Jingxin’s exploration process in brush and ink.The first part is an introduction to the art of Zhou Jingxing, presenting the “Freehand of Figures in Water Margin”, “Washing Painting Sculptures” and “Washing Painting Sculptures Extension, Frame Painting of Landscape and Flowers & Birds”. Each painting will be analyzed according to the respective characteristic of the work in different stages. After the starting of his exploration into brush and ink, Zhou has found his interspaces to express himself and set himself for freedom.In the second part, it is discussed that beyond the exploration on brush and ink, Zhou sublimit the technique onto shaping, which is necessary for the improvement of the art. It is the origin of “Image shaped”. Compared with modern washing art, Zhou’s application of brush and ink fully revealed the characteristic of literati painting. Without brush and ink, the shape will be nothing special. While without shape, there will be no embodiment of brush and ink. Image and shape cannot be apart from each other since the ancient. To discuss the history of image, we should first discuss what are shape, the relationship between expression and re-expression, and the relationship between image and shape. Only in this way, we can discuss why the image can be shaped.The third part, brush and ink supreme. The author discussed Zhou Jingxin’s exquisite painting expression from two aspects, brushwork and ink application. He advocates inheritance is the most cherished treasure in Chinese painting arena. Zhou once wrote, “Tradition is the solidest. Because it has gone-though a long period of time, embodying the process of old-generation masters crucible.” This part studies the predecessors’ contribution to the knowledge on brush and ink, and how Zhou Jingxin creates a brand new world for brush and ink on the researching basis of past generations.The fourth part analyzed the other four point of Zhou Jinxin’s washing art, apart from his exploration in brush and ink. The fours point worth of young artists learning, and they are the application of “ranging” language, “complement of real and nihility”, “embodiment of both poem and painting” and “meaning of decoration”. All the above have been manifested in Zhou’s washing paintings.The last, it is still a long way to run to promote Chinese traditional art. Each correct newborn could not be long-lasting until it passes numerous tests. Zhou Jingxin has achieved a grand success in the artistic language of brush and ink. Meanwhile, he has made a contribution to the development of modern freehand painting on figures. What’ more, Zhou’s achievement has brought an influence to a great number of artists.