| In China’s long history of art, "yipin" theory has been affecting the xieyi painting aesthetic standards in China, from the tang dynasty, the song of the development, improve the formation of representational theory, to the yuan, Ming and qing formation, its evolution throughout the whole of the development of Chinese xieyi painting, also reflects the different age, regional freehand brushwork painters aesthetic interest and the changes of The Times. Since ancient times, "can escape, god, wonderful," four lattice theory system deeply affects the evaluation standard of painting article, it is the collection product drawing, theoretical criticism and guide the creative practice of the trinity, but few people in the creation and contemporary "yipin" as a kind of creative spirit to mention and implementation. "The poem, book, painting" quiet Huang Shen, figure painting inherited the technique of expression of the "yipin", brought cursive script calligraphy creation practice. In "yipin" theory and based on the practice of painting, feeling the "write god, freehand brushwork, don’t write morphology" theory; Focus on painting subjects, face to face with the reality, introduce the toiling masses of image art; Technique innovation, his artistic practice of the "escape", sublimated into "on the most pure, the most traditional" yipin "concept based on face to face with the reality and dare to innovation," the spirit of yipin. This article selects Huang Shen masterpiece, seek figure, at yipin spirit’s role in his creative practice, combined with modern freehand brushwork in traditional Chinese painting tradition of "writing" is lost, the status quo of the art of "escape" is gradually disappearing, through the study of painting concept of aesthetic consciousness Huang Shen yipin of high status in the theoretical analysis, reveals the mysterious thoughts fog, is beneficial to guide the contemporary xieyi painting creation, in today’s painting revive "yipin" spirit of positive significance. |
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