Historical Origins Of Chinese Figure Painting "vivid"

Through the introduction, analysis and comparison to the social background, esthetics trend, drawing achievement and theory construction of Chinese portrait of every period of China' s history, this article explores the historical development of spirit in the Chinese portrait. During the Qin and Han Dynasty, especially the Han Dynasty, in order to consolidate feudalism, Confucianism controlled the circle of thinkers, the subject of portrait is the moral enlightenment, not the precise reappearance of the characteristic of a person' s appearance, the character image in the picture is generalized, and the concept of spirit is not used in drawing. During WeiJin Nanbei Dynasties, people advocated metaphysics, they put weight more on spirit than on human body, the drawing theory using shape to express spirit appeared. The description of spirit is rooted into the painters' pursue. By that time, the drawing technology had not been mature, the performance to show spirit cannot be handy. On the other hand, as a result of the social condition at that time, the spirit freedom that people pursued cannot be realized in the reality, and art has become the gentleman' s spirit Utopia. The unconventional grace in portrait was people's subjective hope. During Tang Song Dynasties, with the development and progress in economy and culture, influenced by rationalism, the drawing is fine and practical. Character drawing is comprehensively mature, portrait is independent. During the Ming and Qing Dynasties people' s thought was liberated, painters paid great attention to display the character' s individuality, and western sketch drawing technique has enriched Chinese portrait technique. People no longer took similarity of form as a shame, and made massive exploration and summary to the portrait of concrete technique. Portrait is comprehensive mature. It gradually got rid of political, ethic and moral content, and emphatically displayed the character' s real appearance. This article promulgates the historic course of portrait' s spirit. It is from non-existing to existing, the character' s status in the picture is from tiny to important, and the subject it selects is unceasingly expanded.