Introduction to the stylistic characteristics of modern ink painting?

Abstract: Since the 90's, modern ink painting has been surging, its characteristics in addition to emphasizing the structure of ink and brush, symbol form, and painting program, but also pay more attention to the author in the process of creation in the works reflected in the personal spirit and experience, for those who appreciate the works, a strong visual impact, subversive ink and brush form, exaggerated language structure, or radical or sharp painting spiritual concepts, have all made the modern ink painting face "Chinese painting can not be completely visualized," "should give Chinese painting a space for independent development," the kind persuasion. For those who appreciate the works, the strong visual impact, the subversive brush and ink forms, the exaggerated language structure, and the radical or sharp spiritual concepts of painting, all make modern ink painting face the well-intentioned persuasion that "Chinese painting should not be visualized in its entirety," "Chinese painting should be given a space for independent development," and the simple transplantation of Western modern art. and the accusation of "simple transplantation of western modern art" and "product of western colonial culture".　 The creation of modern ink painting started in the early 1980s and became active in the mid-to-late 1990s, and has now become a trend that cannot be ignored in the field of Chinese painting. Critic Liu Snapchun, who has always paid attention to modern ink painting, also pointed out that; "Traditional literati painting, which is the opposite of modern ink painting, is facing a modern deconstruction, which is also the basic issue facing Chinese ink painting in the 20th century." Therefore, the creation of Chinese ink painting is constantly exploring around this topic. "Modernity" and "modern style" have become the significance for painters to create ink paintings.　Since the 90's, modern ink painting has been surging, and its characteristics not only emphasize the structure of brush and ink, symbolic forms, and painting programs, but also pays more attention to the author's personal spirit and experience reflected in the works during the creative process. For those who appreciate the works, the strong visual impact, subversive forms of brush and ink, exaggerated linguistic structure, and radical or sharp spiritual concepts of painting have made the modern ink painting face the challenge of "Chinese Painting". Painting is faced with the well-intentioned advice that "Chinese painting should not be visualized in its entirety", "Chinese painting should be given a space for independent development", and "the simple transplantation of Western modern art", "the product of Western colonial culture". "a product of Western colonial culture".　On the surface, modern ink painting seems to be a historical subversion of traditional ink painting, but from the perspective of historical evolution, it is a contemporary process of how the medium of ink and brush, and the material of ink and brush, has been transformed step by step to adapt to the development and changes of the times. Throughout history, countless critics and practitioners have discussed and researched the definition of "Modern Ink Painting" theoretically and explored it practically, but the boundaries are either uncertain or blurred. In fact, we may understand "modern ink painting" as an active phenomenon in the history of art, and the problem will seem to be clearer.　However, to further understand the essence of modern ink painting, we have to study and summarize its stylistic characteristics.　I. Spiritual Forms In the era of Confucianism's domination of the world, the literati and scholars who were subjected to the traditional Taoist and Confucian ideology and doctrines, being in the feudal society of dynastic change and officialdom, although they had the ideal of "serving the country and helping the world", they did not have the ability of "succeeding in their careers", which made them helpless or retired to the mountains and mountains. They have no choice but to retire to the mountains and forests, or recluse, subject to the "not with the same stream" of the literati conduct and "nothing to do but for the" spiritual solace, so that the painters can only through the paintings to express the depression in their chests, which makes their works to the world to convey that although there is no dust and forget the country, seclusion but not Forgetting the gods and the earth, the reclusiveness but not willing to sink into the mood, into the side also reflects the authors of the era of various phenomena even if the dissatisfaction, but also have to be passive and idle, can do nothing about it, and clean themselves up. This kind of hermit spirit form, make the traditional literati paintings appear to "empty", "quiet", "cold", "remote", "indifferent", "indifferent", "indifferent", "indifferent", "indifferent", "indifferent", "indifferent", "indifferent", "indifferent", "indifferent", "indifferent" and "indifferent". "and "indifferent" as the mood of leisure works.　The authors of modern ink painting inherited the "anti-traditional" *** of their predecessors, and faced with the contemporary urban civilization and secular culture, contemporary painters have entered into a spiritual realm with nowhere to escape: the development of modern high-tech and the general promotion of the media, even in the most remote mountainous areas, the colorful photographs of the stars in their writhing postures and disease-free *** pop singers are still inundating the eyes and ears, and the artists are still in a state of "unease," "solitude," "chilliness," "remoteness" and "indifference. In the face of such a secular culture, contemporary ink painters continue to question and abandon traditional ink painting in a state of anxiety through calm contemplation and sober choices. The generalized anxiety and spiritual dilemma suffered by the contemporary people makes the creators of ink paintings to face the current social reality and cultural problems through paintings. Therefore, contemporary ink paintings are different from the weak and feeble spiritual form of traditional paintings, but are strong in facing life, questioning the world, considering values and pursuing the truth.　 Artistic Function With the awakening and enhancement of the subjective consciousness, and with the reflection of the modern society's cultural criticism on itself, the creation of ink painting has changed from the statement of "collective consciousness" with strong political color to the author's own individual expression of life experience, while inheriting the traditional literati painting's characteristic of focusing on the expression of inner feelings. However, unlike the traditional literati painting, which is a spiritual monologue of escaping from the world and keeping oneself pure, the creation of contemporary ink painting is based on the care for the vulnerable people in reality, the contempt for the injustice of the world, and all the emotional catharsis comes from the author's personal experience of the phenomena of the current society and his deep thinking. The resulting interrogation, questioning and criticism of contemporary society and culture have become the radical quality of contemporary ink and wash in terms of aesthetic and artistic functions. "Confucianism has always been the main artistic function of traditional Chinese painting, but with the evolution of the times, the influence of Confucianism and Taoism has been weakened, and the artistic function has gradually transformed from a tool of political indoctrination to a free expression of personal emotions, making the artistic function of traditional painting far from secularism and more concerned with the aesthetics of the individual's own soul. This made the artistic function of traditional painting become an aesthetic realm far away from the world and more concerned with the individual's own mind. Traditional literati painting has its cultural critical significance due to its social background and the rebellious quality of helplessness embodied in its works. Contemporary ink painters have no qualms about flogging the ills of the times and reshaping the ideals of their hearts as cultural witnesses and critics, which has become another distinctive embodiment of the artistic function of the contemporary ink painting style.　 Language Structure With the exhibition of "95 Tension and Expression Ink Painting Exhibition" in Beijing, the phenomenon of strong deviation from the norms of brush and ink in the works has given rise to a series of new topics: "language" has become the center of attention. "...... On the other hand, it means that the innovation of ink painting has begun to enter a period of linguistic self-regulation of language construction, making the modern transformation of ink language closer and closer to success" (Liu Zijian, "Liu Guosong's Influence from a Few Cross Sections of Modern Ink Painting Innovation in Mainland China," Taiwan (Liu Zijian: "The Influence of Liu Guosong from Several Sections of Modern Ink Painting Innovation in Mainland China", Taiwan "Liu Guosong Research Anthology", 1996 edition) In the works of the exhibition, the painters have strengthened the formal tension in China, and expressed the rich and profound spiritual meanings with relatively simple language, and it is precisely with the transformation of "language" that the painters have formed a new way of thinking and expression.　This kind of contemporary ink and wash creation, which is characterized by strengthening the formal function of language, makes the traditional painting with the integrated artistic language structure of poetry, calligraphy, painting and printing change to emphasize the pure and independent painting itself, and the traditional painting's emphasis on the visual language form changes to the emphasis on the language form of painting itself.　Under the background of different times, the language structure of painting is also influenced by special historical situations, therefore, the language structure of traditional painting combining poetry, calligraphy, painting and sealing emerged under the illumination of traditional cultural heart, which is the stage characterization of the development of Chinese painting. Facing the diversified development of the present era, highlighting the formal function of painting language is the ultimate goal of contemporary ink painting in the context of the times.　 The ink and brush form of traditional painting combines writing, intention, chance, instantaneousness, flux, interpenetration, randomness and other properties, and after a long period of accumulation and sharpening, it has formed a set of highly programmed ink and brush form. This is to reflect the author's interpretation of his own emotions on the subject of the painting, the compatibility of the painting language with the subject of the painting, and the embodiment of the spiritual quality of the work itself. In this way, the viewer and the author of the painting can easily understand the premise of the work of art and have a ****sound. Contemporary ink painting, on the other hand, makes a great deal of effort in the style of "brush and ink", no longer adhering to the laws of traditional painting, no longer copying the brush and ink style of literati painting as the only way, but turning to study the causes of the language style and the laws of thinking that emerge from it, either by changing the order of the traditional brush and ink, or enlarging and "translating" the traditional symbols of brush and ink, which is the most important thing in the contemporary ink painting. They either change the order of traditional brush and ink, or amplify the traditional symbols of brush and ink and "translate" them, together with borrowing and utilizing other kinds of paintings and western painting forms, to form a form of brush and ink of the heart that is in tune with the contemporary life experience of the times and backgrounds.　This kind of regional expansion, exaggeration, strengthening the expression of pure "language", dissolving the traditional ink painting program, randomly spreading, focusing on the compositional elements of dots, lines and surfaces, its ink and brush form constitutes a rich pattern, no more harmonious and elegant picture but forms a piece of hearty ink and brush symphony, forming a powerful aesthetic effect, due to its new ink and brush form, it is rich in color and beauty. Because of the new ink and brush form, it is rich in new critical spirit and reflective style, and then it also produces the modern character that contemporary ink painting art should have.　Contemporary ink painting development is a difficult and lasting process, after a number of years of development, what impresses us most is still that refreshing ink tension and performance, the arrival and development of the new century, the development of social pluralism, so that people are suddenly anxious, and suddenly angry, a lot of art to be expressed and manifested in the spirit of the will of the development of the community with the development of the synchronization of the different countries and cultures caused by the impact of people to defend the status of their own local cultures. The influence of different countries and cultures has caused people to think about the defense of their own local cultural status, and the emergence of contemporary ink painting is the inevitable product of this form.　　 References: [1] Gao Minglu. Alternative Methods and Alternative Modernity [M]. Shanghai: Shanghai Painting and Calligraphy Press, 2005. [2] Lang Shaojun. Chinese Modern Art Theory and Criticism Series [M]. Beijing: People's Fine Arts Press, 2009. [3] Jiang Shoutian. History of Contemporary Chinese Painting Schools and Regional Styles [M]. Hangzhou: Xiling Yinshe Publishing House, 2006.