A Beauty And The Spirit Of Painting Aesthetic Study Of Chinese Meticulous Figure Painting Since The 1950s

The general direction of this dissertation is to explore and study the aesthetic nature of Chinese meticulous portrait painting.This is a explorative writing process.The main contents of this dissertation are three aspects,one is the summary of the developing context of the fine brushwork figure,And expounds its aesthetic characteristics;the other is through this aesthetic pursuit combined with the current artistic ecology and the "shape" of the problem awareness;the third is based on the above discussion attempts to elaborate the author in the practice of the heroic figure painting Theoretical perception.First of all,this dissertation divides the time scope of the dissertation into the 1950 s till the present because the important turning point of Chinese Meticulous Figure Painting into the modern stage is based on this.The first and second parts of the dissertation mainly summarize the era since the 1950 s Background and art development environment,while clarifying the key words of the development of China’s fine brushwork figure painting.The first is "revival" as an important time turning point,the second is the concrete manifestation of the turning point of "heavy color",the third is the current development status of the fine brushwork figure painting,and the emphasis is put on the expression,color tone Use and re-read the spirit of these three aspects of the characteristics.These include the concluding statements of the 5th Chinese Art Exhibition,the analysis of the typical artist He Jiaying,and the art practice of the new era witnessed by the author.The second part is the further refinement and presentation of the first part,which provides a solid historical basis for the aesthetic inquiry into the third part.What are the aesthetic qualities of Chinese style portrait painting since the 1950s?The decline of the maid image reflects the deep understanding of the "beauty" of the aesthetic.The ordinary female figure shows the beauty of purification and the alternative beauty demonstrated by the visual composition pursued by the new generation.After experiencing the pursuit of the three dimensions of "beauty",what are the importantissues that limit the development of China’s biographical figures after the painting enters the "contemporary era" ?......In the development and theoretical discussion of different art history in China and the West,the author thinks that the main body of the writing is the most important in understanding the performance of the "figure" in the creation of the metatassic figure painting.The concept of "form" Starting point,but also the aesthetic pursuit of the end result.In the end,it recalled the issue of "god of form",the ancient method of painting "vivid atmosphere" and the problem of "freehand spirit",and then returned to the empathy and creation of practical subjects.