Talking About The Traditional Characteristics And Enlightenment Of Chinese Figure Painting

Ever since more than 20 years after reform and opening-up, profound changes have been witnessed every aspect in China, characterized by contradiction, friction and collision in the many aspects such as:newness & oldness, health & decay as well as advance and backwardness in this process. What is the essence and mainstream of life in such changing era? There are a lot of perplexing, wandering and confusing problems, even so in painting. As a contemporary freehand figure painting learner, I suppose that tradition inheritance shall be the inheritance in a broad sense. It is required to think over changes in society and focus on people's life practically. However, the specific painting expressions such as:the technique layer will come into being slowly along with reflections on these aspects.This paper mainly extends the meaning through generalizing the traditional characteristics of Chinese freehand figure paintings with the final enlightening conclusion that how the author should inherit and develop freehand figure painting. The paper initially generalizes the historical evolution of the freehand figure painting in an easy way and cognize the cultural connotation of "Freehand" once again and proposes "Freehand" is not simple a kinetic or painting method. It is a way of thinking of Chinese art and a highest art goal. The paper simply analyzes the reasons why the freehand figure painting renounced the world after Song Dynasty while speaking of the new situation that the contemporary freehand figure painting is confronted with and simply introduces the characteristics, rendering skills, line refining and third dimension of the painting language of Chinese freehand figure painting through comparison of differences in expression of figure language between Chinese freehand figure painting and western oil painting, Further, the paper also definitely elaborates on the interaction of line and Chinese ink. The paper mentions the author's preliminary understanding of "Writing" and "Free-style" in freehand figure painting with final conclusion that the author should inherit and surpass the history of three aspects and firmly insist on creation of freehand figure painting.