Ink Figure Painting Of The Traditional Language Of The Contemporary Transformation

Five traditional Chinese ink figure painting from an initial development period to the Ming and Qing dynasties mature. The twentieth century, with the idea of Western painting, painting, techniques have entered, brought rapid development of Chinese painting, the same time, the Chinese ink figure painting caused great impact. Western painting, talking about science, to promote realism, speaking in Chinese Figure Painting with conception, the idea is still charm in sharp contrast. Moreover, the authenticity of the picture visual effects and impact, the Chinese figure painting far better than traditional ink paintings to the strong west. Therefore, some accepted ideas of Western painting, the artist has made forward-looking vision on the development of traditional Chinese ink figure painting slogans and improved. Kang, Xu Beihong is the main representative, in particular, Xu Beihong, he not only put forward the slogan of reform and measures, and the first body to exercise, to promote traditional ink figure painting, to a new stage. On the one hand is a form of expression, he learned, borrowed Western ideas and practices modeling, scientific anatomy, perspective method to replace the traditional ink figure painting is still in Italy, is still God, but ignore the objective of describing way. Another aspect of the technique on his traditional language-based ink, boldly borrowed elements of Western painting techniques in make up and enrich the traditional ink figure painting techniques in the performance of real-life characters in the poor and inadequate.85 new ideas ink figure after the lessons from the Western modernist symbol of freedom of expression, and to break through the performance of the realistic approach to re-examine the spirit of traditional Chinese ink return. Figure Painting in the drawing has been the trend of Western art is not limited to the scientific realist approach, more of a contemporary painting from Western concepts and forms. Performance-based ink figure painting is in this background came into being, performance-based ink character artist will ink the characteristics of material tools as a starting point, with its unique perspective and with a personalized pen language, expressing themselves on the contemporary society experiences and feelings. They focus on the ontology of painting, focusing on exploring the nature of art, focusing on self-interest and the present life, exploring a broader perspective, so as to promote the development of Chinese Figure Painting. This is a great idea along to Ink Figure Painting of the transformation in the contemporary language.In this paper, ink from the ink portraits of language levels, the full text is divided into three parts, introduction, main part and conclusion part.Introduction discusses some of the major issues raised, topics based on research significance and research methods. This paper is part of the traditional ink pen and ink portraits of contemporary transformation language to the cause, inevitability, combined with the case of traditional ink painters Figure Painting features of the language transformation, described how in the creative practice of traditional pen and ink to the current transformation of the language . This section is divided into five chapters. The first chapter discusses the traditional ink pen and ink portraits of language features, first outlined the traditional ink pen and ink portraits review the historical development of language, combined with the development of the context in detail of the images of traditional ink figure painting, calligraphy pen features. Direct involvement with the theme of Chapter traditional ink pen and ink portraits of contemporary language to the transformation, discussed the reasons for conversion, and Xu Beihong, Jiang Zhaohe artists such language in a realistic exploration of pen and ink, and finally arrive at the different aesthetic concept of language led to the performance of pen and ink different conclusions. The third chapter discusses the transformation status of the development of contemporary ink figure painting, ink language was"diversity"development pattern, and ink Figure Painting of contemporary trends of language development and maintain national art features, integration of absorption of foreign art, explore new The ink language and expressions. Article IV combination of representative case studies of traditional ink painters Figure Painting language in the contemporary performance of the new features. Chapter discusses how the practice in writing the language of traditional pen and ink to the current transformation. In understand that the traditional pen and ink to use to contemporary figure painting in the past, it must be combined with artist's own transformation of the situation, so here's a little creative experience combined with his three points were discussed, first copy the traditional pen and ink, traditional knowledge ink of the essence, and secondly in drawing ink to achieve the transformation of the language, the natural characters among the artistic image through the ink into the last practice in the creation of self in ink unique language.Conclusion part of the re-stated argument, explain conclusion of this article.Figure Painting of traditional ink painting contemporary language conversion, clear the status of the development of ink figure painting, can present a clearer understanding of the painter in the traditional trial and made the basis of innovation, understanding the development trend of Chinese Figure Painting . Figure Painting ink on aspects of language study, to enrich the performance of his painting technique is conducive to the practice of figure painting in ink more free to express their creative ideas, positive practical significance.