The Study Of The Teaching Of Chinese Ink Figure Painting In China Central Academy Of Fine Arts(CAFA) In The1950s And1960s

Based on a case study of Jiang Zhaohe’s teaching mode of figure painting, the present study has made a comprehensive description and analysis of the evolution and development of the teaching of Chinese ink figure painting in China Central Academy of Fine Arts (CAFA) in the1950s and1960s. As one of the academic student of Chinese painting, the author is committed to sorting out and researching on the teaching of Chinese ink figure painting in the college in this important historical period, so as to provide access to the origin and continuity between the past and the future and thus benefit the development and reform of the current teaching of Chinese ink figure painting.In the1950s and1960s, the teaching of Chinese painting of CAFA took a way to "combine Chinese and Western and bring the new through the old" in the process of examining the history and exploring ways for development. During that period (over a decade), through the reform of the teaching of sketch and a series of other teaching explorations and practices, the teaching of Chinese painting of CAFA set up the typical teaching patterns, established a unique teaching style and laid the foundations for future teaching. At that time, Jiang Zhaohe worked out a teaching mode of figure painting from life by combining his creative practices and teaching experiences. It was made up of a series of three interconnected courses with step by step increase in the degree of difficulty, sketch, line drawing and ink figure painting. Jiang stressed that in this teaching mode the sketch teaching should recognize the basic law of Western sketch modeling, and then establish the basic law of Chinese painting modeling and create the sketch teaching pattern for Chinese painting on the basis of absorbing the advantages of the Western-style sketch; as the specific profiling means representing the basic law of the Chinese painting modeling by lines, line drawing was a basis of both sketch teaching and Chinese ink figure painting teaching; the teaching of Chinese ink figure painting should take’ presentation of spirit through appearance" as the highest criterion, follow the basic law of traditional Chinese ink painting, take the line drawing as the basis and focus on the changes and relationships between brush and ink.In brief, Jiang’s teaching mode has taken line profiling as the basic modeling law, absorbed both the skills of scientific analysis by the principle of perspective and anatomy in the sketch and the representation mode of Chinese line drawing, and finally transformed the traditional Chinese painting skills into the sketch teaching mode of ink figure painting. Jiang’s teaching mode is a systematic exploration and summary of the teaching of Chinese figure painting under the guidance of the teaching principle of "combining Chinese and Western and bringing the new through the old". It has made influences both on the teaching of Chinese figure painting and the creation of Chinese ink figure paintings.In sorting out and describing the development of the teaching of Chinese figure painting in CAFA in the1950s and1960s, the present study has put forward his own views on its impact and the discussion initiated by that and has also made his own points about Jiang’s sketch teaching mode of Chinese ink figure painting.