The Blend Of Color And Ink,Simple And Transparent

The relationship between color and ink has always run through the history of Chinese art.Frescoes,painted pottery and ancient Chinese paintings from ancient times can be seen.The use of ink and color has always been an issue.From the initial emphasis on color to the emphasis on ink and ink.To the present diversified development,the relationship between the two is constantly changing.After the rise of literati painting,Chinese traditional ink and wash figure paintings adhered to the concept of ink as the main and color as the supplement,and maintained the color principle of "color does not hinder ink,and ink does not hinder color." The rise of literati painting has dominated the fun of brush and ink in Chinese ink and wash figure paintings,but with the development of the times,foreign artistic ideas have gradually been introduced into Chinese ink and wash figure paintings.The fusion of traditional Chinese painting and western color concepts makes Chinese ink and wash figure painting has made unprecedented progress and innovation in the use of color and ink.The article mainly explores the relationship between color and ink in contemporary ink and wash figure painting and how color and ink technology is used in creation.The first chapter mainly describes the concept of color and ink relationship in contemporary ink painting,including: the continuation of traditional painting by contemporary ink figure painting,the absorption of excellent western art,and the case analysis of contemporary ink figure painting,with Li Fengmian,Tian Liming,Liu Qinghe As the object of case analysis,the representative works of Xing are used to explain the typical characteristics of contemporary ink and wash figures and the application of ink technique.The second chapter is a series of creative experimental explorations after understanding the relationship between color and ink in modern ink and wash figures,mainly the attempts of painting materials and coloring methods during graduate school.The third chapter is a record of the creative process of the "Studio" series,which is elaborated from the determination of the subject matter,composition and modeling of the character,the use of color and ink,and the final adjustment of the screen.The fourth chapter is the perception,deficiency and reflection in the creation.In my creative research,I started with the language of painting,and tried to explore the contemporary relationship between color and ink,so that Chinese painting could develop into an art form with obvious characteristics of the times on the basis ofhighlighting traditional characteristics.