On The Beauty Of The Lines Of Figure Paintings In The Jin And Tang Dynasties

In the long history of the development of China, the line art had stand on the stage of history. Trace the origin to the ancient people, they worked on the vast land of China, hunted, and baptized this piece of fertile land with a pure mind. they left their perception of life with their cognitive way in Shek Pik, on the vessel, which in our country the first line art- totem worship subsequently form. However, before the Wei, Jin and southern and Northern Dynasties, people's understanding on the line art only remained on worship, ritual and "indoctrination into, ethics education". Lines stand in the social development only as a decorative pattern.Until the Warring States silk painting "Kui Feng character map", the tenor people put the focus on the transformation of the painting exquisite, smooth lines. Since then, the line began to be reexamined and repositioned as a unique aesthetic art form, which from the beginning of tender, lovely, simple, rough lines, evolved into changes in the latter part of the form diversity, uniformity, thickness, provided by the setbacks, the priorities of the lines. Line art has always been to the backbone of an indestructible spirit, rain down in the painting.In this paper, the starting point is Chinese Jin and Tang Dynasties records relating to the creation of figure painting of the three painting, the important pointing is "theory with practice" ideological line, and it focuses on the analysis of the Gu Kaizhi- "the spirit of the concept", Sheikh- "Liufa" theory, and Zhang Yanyuan-- "the ancient name" painting on figure painting that three of the painting in the modern time and even all have high influence. It not only has unique insights on the figure painting, but also expound the importance of the study of painting lines, plays a guiding role in basic research on Jin and Tang Dynasties painting the beauty of lines, which is the premise and foundation of the paper discusses about.The second chapter mainly discusses the development process of painting lines, and the order of time the longitudinal analysis of achievements of Jin and Tang Dynasty art masters of art on the line. In the Wei, Jin an d southern and Northern Dynasties, due to the generation of metaphysics, people began to pursue a character tone which is lofty refined, and not chic group. Thus, aesthetics of people on the line art has become awakening, become a common practice. In Wei, Jin and southern and Northern Dynasties and the Sui and Tang dynasties over a hundred years, the development of figure painting lines become history in a fleeting waves and shocking to people, influenced the development of later generation until the modern figure painting. a few with high attainments painter in using figure painting lines was born in The Jin and Tang Dynasties, which had its meat, land to the bone, attend to the God "of figure painting lines; Wu Daozi" candid hayanari "figure painting lines; Zhang Xuan and Chen Hongshou" Jin Jian rigorous "of figure painting line and the grotto murals in the Jin and Tang Dynasties figure painting lines have their own characteristics. The formation of these lines is Chinese traditional figure painting of" innovation ", which enriches the artistic aesthetic field, endows the portrayal of the characters vivid visual experience in the change of lines in the transport process pen.The figure painting lines with different shapes have strong aesthetic feeling, which makes the picture give birth to the rich visual perception ability. In the third chapter, the author will make in-depth analysis of the lines with the unique aesthetic value and artistic characteristics, from four angle of meticulous: lines efforts beauty, image beauty, rhythm beauty and decorative beauty.Chapter four discusses the far-reaching influence that Jin Tang Dynasty painting lines on the later produced, it shocked and awe from Song Dynasty to contemporary figure painting as a wave, the painters absorb predecessor director, abandon the previous short in inheriting the foundation of Jin Tang Dianfeng. They dare to innovate on the use of figure painting lines, dare to practice. There still emerged a number of each line style figure painter in the figure painting field in both Jin and Tang Dynasties."The status quo is not we leave the Pope" inspires us: the art of really good and stand up to the tasting, need the lead of thought origin. In the creation of the contemporary figure painting, the painters which are only familiar with the development of the lines of the figure painting, can make themselves in the process of constantly enrich the line techniques to enhance their own. Try to reach "from the source seeking the mentality, to find the law of innovation", carefully taste, read artistic origin theory, experience knowledge from the practice, and continuously enrich the art thought, to create a more depth, evocative of the outstanding figure painting works for people.