Line Rendering and Iconic Reconstruction in the Realistic Formation of Contemporary Ink Figure Painting

Authors

  • Na Li
  • Tsetsegdelger D.

DOI:

https://doi.org/10.54097/f8kp7z39

Keywords:

Ink-wash figure painting, Realistic modeling, Line expression, Image reconstruction, Formal analysis

Abstract

While inheriting the spirit of traditional brushwork, contemporary ink figure painting continuously incorporates Western concepts of realistic modeling, forming a unique visual language system. This paper adopts a formal analysis approach, focusing on line expression as a core element to explore its functional evolution and aesthetic transformation within realistic modeling, and further analyzes how lines participate in the process of reconstructing the imagery of the painting. The study argues that the line in contemporary ink figure painting has evolved from the traditional “bone-like brushwork” into a multifaceted expressive system that combines figurative functions with independent aesthetic value, forming a unique “realistic imagery” in terms of character modeling, spatial structure, and emotional expression. The organic integration of the calligraphic, expressive, and modeling qualities of the line ensures both the objective authenticity of the figure and preserves the independent character of the ink-wash language, ultimately achieving an aesthetic realm “between likeness and abstraction.”

Downloads

Download data is not yet available.

References

[1] Yu Jianhua. Compilation of Ancient Chinese Painting Theories [M]. Beijing: People’s Fine Arts Publishing House, 2004: 120–125.

[2] Wang Bomin. A General History of Chinese Painting [M]. Beijing: Sanlian Books, 2018: 356–360.

[3] Zhang Yanyuan. Records of Famous Paintings Through the Ages [M]. Annotated by Yu Jianhua. Nanjing: Jiangsu Fine Arts Publishing House, 2007: 89.

[4] Xu Beihong. Collected Essays on the Art of Xu Beihong [M]. Edited by Xu Qingping. Yinchuan: Ningxia People’s Publishing House, 1994: 234–236.

[5] Liu Xilin. Essays on Jiang Zhaohua [M]. Beijing: People’s Fine Arts Publishing House, 2004: 78–82.

[6] Li Song. Chronology of Zhou Sicon [M]. Beijing: People’s Fine Arts Publishing House, 2010: 156–158.

[7] Lu Chen. Lu Chen on Ink Painting [M]. Hefei: Anhui Fine Arts Publishing House, 1996: 45–48.

[8] Liu Guohui. Brushwork Techniques in Figure Painting [M]. Hangzhou: China Academy of Art Press, 2003: 67–71.

[9] Wu Shanming. Freehand Figure Painting [M]. Hangzhou: Zhejiang People’s Fine Arts Publishing House, 2005: 89–93.

[10] Fang Zengxian. Fang Zengxian’s Art Collection [M]. Shanghai: Shanghai People’s Fine Arts Publishing House, 2008: 34–36.

[11] Zhou Jingxin. On the Creation of Ink-and-Wash Figure Painting [J]. Art Observation, 2015(4):56-60.

[12] Yuan Wu. The Art of Yuan Wu [M]. Changchun: Jilin Fine Arts Publishing House, 2012:78-82.

[13] Zhou Sicong. The Art of Zhou Sicong [M]. Beijing: People’s Fine Arts Publishing House, 2005:112-115.

[14] Wu Shanming. Wu Shanming’s Ink-and-Wash Figure Paintings [M]. Hangzhou: Zhejiang People’s Fine Arts Publishing House, 2008: 56–58.

[15] Liu Guohui. Liu Guohui’s Art Collection [M]. Hangzhou: China Academy of Art Press, 2010: 89–92.

[16] Tian Liming. Tian Liming’s Art Collection [M]. Nanchang: Jiangxi Fine Arts Publishing House, 2014: 45–48.

[17] Li Bo’an. Stepping Out of Bayankala [M]. Zhengzhou: Henan Fine Arts Publishing House, 1999: 23–25.

[18] Chen Mengxin. Chen Mengxin’s Fine-Line Figure Paintings [M]. Wuhan: Hubei Fine Arts Publishing House, 2016: 67–70.

Downloads

Published

27-03-2026

Issue

Section

Articles

How to Cite

Li, N., & D., T. (2026). Line Rendering and Iconic Reconstruction in the Realistic Formation of Contemporary Ink Figure Painting. International Journal of Education and Social Development, 6(3), 16-20. https://doi.org/10.54097/f8kp7z39