From Single Line Plain Painting To Structural Sketching

In the early 1950 s,Chinese painting was considered incapable of representing the modern figure and was pushed to the cutting edge of reform,and the fusion of the East and West became inevitable.The initial period of the Zhijiang school of figure painting was the 1950 s,the mature period was the 1960 s,and the expansion period was the 1980 s.Since the artists of the Zhejiang School were influenced by the early artists,the figure painters of the Zhejiang School incorporated the traditional brush and ink of flower and bird painting and landscape painting in addition to modeling,forming the figure paintings of the Zhejiang School,which are characterized by vivid and accurate modeling,rich variations of brush and ink,and the traditional flavor of brush and ink.In the environment of the popularity of Chi-style sketching,the early figure painters of the Zhejiang School began to try to combine sketching with traditional Chinese brush and ink.In the process of transforming from single line drawing to structural method,the sketching also shifted from light and dark to structure.In the process of fusing structural sketching with ink figure painting,a large number of painting faces were produced with large and small sloping surface techniques,and then it shifted to the mature “structural sketching style” of ink figure.This paper discusses how the early figure painters of the Zhejiang School reformed and innovated on the basis of respect for tradition and what stylistic commonalities were formed under such a general environment.In this paper,the development of figure painting techniques of the Zhejiang School,the analysis of language formation and the aesthetic value of brush and ink will be discussed in three aspects,namely,single line flat painting,large and small sloping surface and structural method,so as to explain the stylistic commonalities of Zhejiang School figure painters.