Out Of Bayan Kala

In the 20th century,there were many painters and scholars struggling for the modern transformation of Chinese painting.Li Boan who had the same age as the New Chinawas a special case in the late century.After experiencing the influence of the new Chinese art and the “Cultural Revolution” era in the 1990s,he opened up a new art road spending all his life,forming a very personalized painting language.This paper takes Li's painting as a case study,focuses on his representative work of the large volume of characters “Out of Bayankara” as the research object,deeply understand the spiritual world of painters,through the analysis of Li's life experience and painting character,analysis of painters in the background of the times,politics,economy,social culture,explore and study the process of painting form language of ink characters and ideological changes.In order to explore the causes of the Chinese ink characters' works,which form the most shocking and unique language,Li Boan's painting art has an important influence on the painting world.In the modern transformation of Chinese figure painting in the 20 th century.At the end of the 20th century,in the context of globalization,in the era of drastic changes in social models,Li Boan,learned from the traditional and western painting arts,the folk art,and the natural law.Li Boan has formed his own unique painting appearance in the long-term art practice,beginning painting from 1988 to the end of his painting life in 1998,drawing the imposing long volume of the ink-wash characters “Out of Bayankara”,during which his artistic style and artistic thought changed a lot.His work,using group-like composition,on the basis of inheriting the traditional characters' long-roll expression technique,combining with the painters understanding of the traditional Chinese painting line,boldly integrating the western painting and the expression language of cross-art categories,with a solid and powerful mass structure and strong black-and-white conflict and the artist's unique image-based artistic language,the Chinese ink characters have been pushed to a new height by creating a magnificent and modern painting form that has never been seen in the past history.The article,through the study of Li Boan's life background,personality,art experience,literacy,illustration,comic works,analyzes Li Boan paintings personalized image under the unique artistic language system modelling such as painting language transformation process and the formation of the internal cause and external cause,highlight the spirit of "out of balyanlkalla" special value.Lee's pure artistic spirit deserves to be remembered and revered forever.From the point of view of painting style,through the translation of the Tibetan theme painting images of his works,this paper studies the layout of Li Boan's works,the rules of form,realistic techniques,modeling changes,new ink language.Based on The figure paintings of Lee Bo-an in different periods,combined with relevant written records and image studies,focusing on the era background of social modernization transformation,this paper analyzes the artists' painting thoughts and the process of painting style transformation as well as the relationship with the era.Combing Li Boan's inner foundation of absorbing the nutrition of traditional painting,analyzing the painter's integration of western classical painting and modern art and other elements and modeling concept of the open vision.The conclusion is that,as a realistic figure painter,Lee Bo-an has realized the realistic freehand brushwork transformation of Chinese figure painting,and made great efforts and achievements in solving the long-standing conflict between ink painting and shape,middle and west in Chinese figure painting.This paper studies the transformation from realism to freehand brushwork in “Out of Bayankara”.This paper analyzes the development track of the modern transformation of Chinese painting under the background of the times and analyzes the gains and losses,in this way,the author analyzes the creation law and future development direction of Chinese figure painting.