The innovation of ink figure painting cannot be separated from the research and exploration of expression ink techniques. From traditional ink figure painting techniques to modern ink figure painting techniques, from 1840 to modern times, Chinese ink figure painting techniques have evolved with the changing social environment and historical background. Taking the evolution of ink figure painting techniques as the object of study, this study is narrated on the axis of three time periods, and tries to explain the evolution of ink figure expression techniques through three different stages: the first stage explains the subjective thinking of realistic ink figure painting techniques backed by the influence of traditional Chinese culture: the second stage illustrates the realistic ink techniques influenced by the concepts of Western painting, and the background of its emergence; the third stage is the The third stage is the elaboration of modern diversified expressive ink painting techniques, analysing diversified modern ink figure painting techniques with the works of several modern artists. All three time periods are analysed in terms of their expressive techniques with different works, and all of them represent the creative thoughts and creative themes of the artists in this period. Literature is collected to briefly summarise the ideas, themes and backgrounds of the paintings of different periods. The pictures are analysed with the most representative artists and paintings of each period, mainly through the works to analyse their inner techniques, the use of techniques, the expressiveness of techniques, the creative themes and the ideas of the works.
Bi, J. M. (2006). Traditional Culture and Chinese Figure Painting. Beijing: China Literature and History Publishing House,48-113
Fan, D. M. (2006). Chinese Painting: Tradition and Innovation in the Zhejiang School. Hangzhou: Zhejiang University Press, 2006-4
Hong, H. Z. (1998). An Experimental Discussion on the Tradition of Chinese Painting Brush and Ink and Its Modernization. Journal of China Academy of Art (New Art),15-22.
Lang, S. J., Shui, T. Z. (1999). Selected Essays on Chinese Art in the Twentieth Century. Shanghai: Shanghai Painting and Calligraphy Press, 199.11.1
Li, X. X. (2004). I Shuttle Between Three Subjects-An Interview with Li Xiaoxuan. Zhengzhou:Oriental Art,277-191
Jiang, Z. H. (2007). Lecture Notes on Jiang Zhaohe's Figure Painting. Tianjin: Tianjin Ancient Books Publishing House, 1st ed.
Lu, H. (2002). Twenty Years of Modern Ink Painting. Changsha: Hunan Fine Arts Publishing House, 2002,1
Lin, M. (2002). Theory of Brush and Ink. Shanghai: Shanghai Pictorial Press, 2002.8.
Li, F. (2010). On the Contemporary Transformation of the Language of Ink and Brush Ink in Traditional Ink Figure Painting. Guangxi Normal University
Wu, X. S. (1998). Problems of Transforming the Artistic Language of Chinese Human Paintings. Journal of China Academy of Fine Arts (New Art), 24-27
Wang, Y. (2011). Art and the Choice of the Times-From Art Revolution to Revolutionary Art. Hangzhou: Zhejiang University Press, 2011.6.1
Xu, B. H. (2007). Essays on Xu Beihong. Nanjing: Jiangsu Literary Publishing House,
Yi, E. (2008). History of Chinese Figure Painting in the Twentieth Century. Hebei: Hebei Fine Arts Publishing House,
Yu, J. H. (2009). History of Chinese Painting. Nanjing: Southeast University Press, 2009.4, 1st ed.
Zhang, Y., Zhou, J. P. (1999). Contemporary Chinese Ink Painting. Contemporary Art, 172-179.
Zhou, J. X. ( 2006). Feeling Infinite. Chengdu: Sichuan Fine Arts Publishing House, 2006.6, 1st ed.
