Traditional Ink Painting: Brush and Ink and Form

Chinese figure painting has lasted for thousands of years, developing from ancient times to modern times, the aesthetic standard of creation and artistic language have gradually become a system, which is a fact for all to ****. Along with the entry of western culture, Chinese painting is also undergoing a series of improvement, and it has become more enriched in terms of language and culture as well as expressive techniques. The new generation of artists has shown the spirit of sacrificing themselves in inheriting tradition and self-innovation. When it comes to inheritance of tradition and innovation, the brush and ink and modeling of Chinese figure painting is something we have to talk about, because it is the core and soul of Chinese figure painting. Chinese figure painting brush and ink is the soul. Let's talk about the language of art, which is inseparable from the brush and ink. Chinese figure painting after more than two thousand years of historical precipitation, bringing together the artistic language of countless artists, the art of thought is increasingly perfect, from the formation of today's perfect situation. Everything in the world changes, art has never stopped exploring, Chinese painting is no exception.

Chinese painting has encountered the fusion of foreign arts in its progress. Under this major trend, Chinese painting has shown unprecedented prosperity. However, behind the prosperity of art, we have to reach a deeper level of development and creation of art. How can we renew the traditional spirit of Chinese painting? The transformation of artistic ontology is based on the original reason of traditional painting. He is not negative, but positive development. Ink figure painting cannot be developed without modeling and brush and ink.

Chinese figure painting has developed to the present day, and he has introduced many foreign factors (modeling, color, etc.). However, he must meet three basic conditions: firstly, Chinese painting is the main focus; secondly, the affinity between foreign factors and Chinese painting; thirdly, the basic nature of Chinese painting must be maintained. Xu Beihong put forward the idea that "artists and scientists have the same spirit of truth-seeking, the study of science based on mathematics, the study of art based on sketching". What kind of modeling is combined with Chinese painting? The combination of points, lines and surfaces; the combination of black, white and gray; the combination of sketching and Chinese white drawing; and the combination around the aesthetic requirements of traditional culture.

Modeling does not presuppose absolute representation; his claim is to express the feeling of subjective consciousness through objective knowledge of objects. It is not a scientific expression like the photographic technique, and every person is different, every author has different feelings and perceptions. After the 20th century, a group of pioneering figure painters, such as Lin Fengmian, Xu Beihong, Zhi Zhaohe and Huang Han, emerged on the basis of Western sketching methods, taking life sketching and sketching as a breakthrough. They combined the solid modeling of Western painting with Chinese bird and flower painting, and made a successful attempt to express the modern figure, and created a number of excellent works reflecting the reality of society, thus promoting the long-term development of Chinese figure painting.

Modeling is a lifelong problem to be solved as a figure painter. It is not simply a matter of shaping the image, but to make the figure more vivid and flavorful. Why do we have no impression when looking at some works? It is because they do not show the real state of mind of the characters, the characters are too bland, not deep, so it is difficult to impress the audience. In order to "recognize the shape and write God", it is also necessary to "form with God and create". The highest state of figure painting is to have both form and God. Therefore, "God is born from form, form follows God" should be the principle of figure painting modeling.

Brush and ink in Chinese painting is based on modeling. For a long period of history, the literati and scholars intervened in the field of painting, and painting became an out-of-the-way pastime and entertainment. Shi Tao in the "bitter melon and calligraphy and painting discourse," when talking about ink and brush, there is a paragraph of discussion: "ink non-mengnian not spiritual, pen not life is not God, can be Mengnian spirit but not understand the life of the God, is the ink without the pen also. The mountains and rivers of all things to see the body, there are anti-positive, biased side, there are gathered and dispersed, there are near and far ...... the big end of this life as well. Therefore, the mountains and rivers to recommend the spirit of the people, because people manipulate the right to live in the sound of this Montgomery, if not, how to make the ink and brush under the tire and bone, there are open and closed, there is a body useful ...... to do its spirit and enough of its God." Here is about the relationship between nature and brush and ink techniques in landscape painting, this nature and brush and ink techniques are also applicable to figure painting. Ancient people often say: "Recognize the master of creation, the master of nature." In fact, how many people can really do it? Modern figure painting has just begun. Artists have made a lot of attempts in the process of language transformation. There are those who use ink to express the effect of oil painting, and those who use ink painting to express light and shadow. They embodied ink and wash with the help of oil painting, printmaking, watercolor and other techniques, and some of the effects were shocking: but some of them departed from the essence of Chinese painting, were neither ass nor horse, and were not satisfactory.

This is a harmonious society in which all flowers bloom, and artists can speak freely and express their own views. Ink and wash is a form of expression that is both classical and modern. The beauty of brush and ink varies with the shape; he is a supernatural spiritual phenomenon. All in all, the criteria for recognizing brush and ink come from tradition and go with the times, a dynamic process of constant change. Brush and ink is not synonymous with tradition, he will be perfected over time, and gradually move towards an ideal artistic realm.