A Study On The Brush And Ink Language Practice Of Contemporary Mongolian Freehand Figure Paintin

The unique geographical environment and cultural customs of the Mongolian people have brought abundant materials to artistic creation,and their customs,religious beliefs,and aesthetic forms demonstrate a unique Chinese aesthetics.Contemporary art creation should not only reflect material life,but also reflect the spiritual world.In the process of art creation,the author tries various methods,based on tradition,integrating Western painting forms,using rich ink language to display the traditional Mongolian sports event wrestling,using Bogu wrestling,and using a rough and freehand style,The unbridled and open pen and ink and the magnificent momentum highlight the endless vitality of the Mongolian ethnic group and the ethnic spirit of daring to struggle.This article takes contemporary Mongolian freehand brushwork figure paintings as a clue,analyzes the language characteristics of different painters,and explores the artistic value of integrating ethnic minority themes with traditional Chinese painting.The whole article is mainly divided into four parts: The first part divides contemporary Mongolian subject matter figure painting into two parts: the new period and the new century according to the development process of China,explores the reasons for the development of Mongolian art in the new period,summarizes the development status of freehand brushwork figure painting in the new century,and carries out analogical discussions on the expression methods and creative themes;The second part analyzes the language characteristics of contemporary outstanding freehand brushwork painters,to see how they convey the grassland spirit with their brushwork and ink;The third part introduces the main points of creation in detail from three aspects: composition and conception,material collection,the specific application of pen and ink language in the creative process,and the aesthetic charm of pen and ink.It explains the details of each pen and ink on the screen,which is a process of transforming previous theoretical learning into practice;The fourth part is a summary of the author’s creative thoughts,such as the difficulties and shortcomings in painting,and then discusses the practical significance and artistic value of the integration of ethnic minority themes and traditional Chinese painting in the new era.The entire article revolves around the expression of pen and ink language.Through the form of freehand figure painting,with the traditional Mongolian wrestling competition as the creative theme,the article combines realistic modeling with freehand brushwork,integrating "meaning" and "interest",respecting local cultural worship,and through their own experience and reflection,using the brush to depict the Mongolian man’s brave,resolute and resolute artistic image,allowing the viewer to directly experience the folk customs of the grassland tribe,And then transmit ethnic aesthetics.