Cunfa In Figure Drawing Aesthetic Qualities And Use

In the present area of Chinese freehand figure painting, Xu Beihong and JiangZhaohe et al. have introduced the western realism, which changes the morphology ofChinese ink and water painting greatly. This variation is bound to go through aprocess of development from immature to mature. In this process, the artists mustconstantly choose their own way of expression, to make which become new artisticlanguage in Chinese painting, thereby create a contemporary Chinese figure paintingwhich have a better compliance with national spiritual content and form. The changeof this style theory makes more figure painter to pay more attention to texture strokeswith point and surface in the form of hook chop. In the diversity of today, to keep,learn and develop the language of nationality, we need to start with such languagewhich have strong growth potential. Due to its unique aesthetic qualities, as atraditional form of language，Cunfa not only exists as a skill level things, but also asspiritual things. At the same time Cunfa bring us a lot of inspiration. Because of itscontemporary impressionistic portraits in pen and ink and styling as a bridge, itenhances the confidence of contemporary Chinese freehand figure painter in largeextent. By means of this starting point, combined with the use of textual history andcomparison methods, we conducted a study on the concepts and unique aestheticcharacteristics of Cunfa. Meanwhile, with the existing historical records that Cunfaachieve the ultimate when it was used in the landscape, we discovered its hugedevelopment potential. And through the analysis of modern impressionistic portraitswith the utilization of Cunfa and aesthetic qualities, we enhanced the view that Cunfahas rich expressive power, huge development potential and development space.Leading to the conclusion, it will be widely used in contemporary impressionisticportraits because due to its own unique aesthetic superiority and potential returns.