Research On The Modeling Methods And Applications Of Ming And Qing Figure Paintings From The Perspective Of Physiognom

Since Gu Kaizhi put forward the idea of“writing the spirit with the shape”,“shape” and “spirit”have become the main criteria for the evaluation of Chinese figure paintings.The premise of the theory of “depicting the spirit with the form” is the establishment of the ancient Chinese physiognomy theory of“the form is born from the mind”,that is,the human mind can be manifested in the form visible to the naked eye.The morphology can be divided into two types: bone phase and skin phase.The bone phase determines the basic shape of a character,which is a congenital factor and is not easy to change;the skin phase is the fleshy appearance of the skin,the flesh,the beard and the facial features,which will change with the changes of time,environment and mentality.Therefore,the appearance of a character depends on the appearance of the bones,the appearance of the gods depends on the appearance of the heart,and the appearance of the skin is the appearance of the appearance of the heart.In the process of creating figure paintings,painters in the Ming and Qing dynasties used a lot of methods of recognizing people,in order to have the shape and spirit of the image,so that the level of figure painting in this period was at a higher level.But it must also be noted that the application of physiognomy theory has also led to the stylization of Chinese painting figures.Therefore,an interesting phenomenon in the figure paintings of the Ming and Qing Dynasties was formed.On the one hand,the non-sketching figure paintings showed a high degree of stylization,while in the sketches,the physiognomy theory was used to achieve a high degree of similarity.This paper focuses on analyzing the different application methods of physiognomy in non-life sketching and sketching modeling,trying to find out certain rules,and making preliminary attempts in sketching and creation.