Freehand Brushwork Figure Painting "Ink" And "Color" Of Development And Exploration

Emerged in the ancient time of China when Chinese ink painting booms, freehand figure painting develops constantly. In literati painting period, it is centered on the way that pen and ink are used which is gradually improved. But in the history of freehand brushwork, color is neglected which directly leads to an immature theoretical system. However, with western paintings coming that strongly stimulates Chinese traditional visual and form concept, they cause a powerful shock to traditional Chinese painting and leaves room for further development. The wise Chinese painters start to make improvements in Chinese freehand figure painting. They combine western drawing language and traditional Chinese ink brushwork together that make freehand figure paintings develop into a new stage. In traditional Chinese drawing theories, “Make good use of ink and five elementary colors can be achieved” is a popular concept that forms a profound theoretical basis. Meanwhile Chinese ink painting restrains color usage during the time when literati painting prevails. Nowadays freehand figure painting not only uses pen and ink but also adapts color which allows it to carry more contents. They appeal for the harmonious combination of different colors and inherit the spirit of Chinese freehand painting to open a new direction.The present thesis aims to explore the development and inheritance of freehand figure painting through tracing its history and reveal the cultural foundation of Chinese color concept by revisiting the traditional one influenced by Chinese philosophy. And it aims to explore the reasons and procedure of the transformation from the rise of Chinese ink painting to the down of color application within the influence of social background and philosophical thoughts. The gradual perfection of Chinese ink system causes the absence of color application. On the contrary, the establishment of literati painting’s dominant position makes painters tend to the stylized imitation, which becomes the top concern of that time. In the new age, the western art of painting unfolds Chinese artists’ thinking and stimulates them to reform and pave a new way for its development. In the present thesis, the writer is to explore the application and development of “color” and “ink” in the light of works of pioneers in this field. In addition, the article lists some representatives who have innovated the way “color” and Chinese “ink” are used. The writer tries to study the possibility of applying “color” and “ink” in freehand figure painting which is of importance to develop Chinese painting art.