View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CSCanada.net: E-Journals (Canadian Academy of Oriental and Occidental Culture,... ISSN 1712-8358[Print] Cross-Cultural Communication ISSN 1923-6700[Online] Vol. 12, No. 7, 2016, pp. 40-44 www.cscanada.net DOI:10.3968/8618 www.cscanada.org Inheritance and Development of Chinese Ancient Figure Painting and Modern Fashion Drawing YANG Xiaojin[a],* [a]Academy of Fine Arts, China West Normal University, Nanchong, use the schools and types of painting in other fields; this China. is also the only way for the new development of fashion *Corresponding author. drawing techniques. With the ceaseless innovations in Received 18 April 2016; accepted 15 June 2016 Chinese painting, the fashion drawing, which not only Published online 26 July 2016 absorbs the traditional culture but also absorbs the skills of Chinese painting, shows its unique charm with the best Abstract image in the world. Nowadays, with the rapid development of economy, people have growing requirements for clothing fashion, which have driven the development of clothing industry 1. CHINESE ANCIENT FIGURE PAINTING in China. However, opportunities and challenges usually Chinese figure painting is the most precious and unique coexist. The art of fashion drawing, which has the art in Chinese traditional painting. As clothes are the function of advertising and artistic appreciation etc., also best way to manifest culture, different nationalities have faces great challenges because of this. Especially, with different ethnic costumes of their own unique styles; this the rapid development of science and technology, it is an is also the difference in the cultural development among important problem worthy of further research and thinking all nationalities. Meanwhile, the Chinese ancient figure to inherit and develop the Chinese ancient figure painting painting works with figures as its subjects in the form of and modern fashion drawing and effectively combines the fine art is one of the artistic forms with the best dressing drawing skills of traditional Chinese painting with those fashion and also provides a guarantee to better record and of modern fashion drawing. manifest the clothing styles at that time. Chinese ancient figure painting; Modern Key words: 1.1 Times Clothing Systems Reflected in Chinese fashion painting; Inheritance; Development Ancient Figure Painting Before Tang and Song dynasties, China’s works of fine Yang, X. J. (2016). Inheritance and Development of Chinese art were mainly created based on figures. However, Ancient Figure Painting and Modern Fashion Drawing. Cross-Cultural Communication, 12(7), 40-44. Available from: due to the restriction of traditional Chinese “feudal http//www.cscanada.net/index.php/ccc/article/view/8618 ethnic codes”, all dynasties formulated strict clothing DOI: http://dx.doi.org/10.3968/8618 systems, which also became the important standards for evaluation of clothes and pointed to the correct description of clothing systems. Therefore, some painters directly participated in the design of crown INTRODUCTION clothes. For instance, all of the figures in the Portraits At present, because of the continuous multi-culture of the Emperors, Admonitions of the Court Instructress development and the development of globally economic to Palace Ladies and other paintings drawn by Yan Lide integration, the forms of manifestation of the art of fashion and Yan Liben, painters of Tang dynasty were well- drawing need to conform to the requirements of era documented historical images. development and diversified development factors should In the slave society, the subjects of paintings gradually also be added. Besides, it is also of vital importance to changed from burying people and livestock alive with the Copyright © Canadian Academy of Oriental and Occidental Culture 40 YANG Xiaojin (2016). Cross-Cultural Communication, 12(7), 40-44 dead into objects instead of people. It can be seen from so it has a unique style rules, pattern of manifestation a large number of unearthed cultural relics that many and rich artistic charms. One’s sense of painting brush is articles for use or tomb figures carved out of wood, growing and one will feel no difficulty in painting when jade, ceramics and other materials, coffin carvings, one uses more techniques such as thick, light and strong mural paintings in tomb chambers and paintings etc. lines. truthfully reflect the living conditions of that time, The drawing skills with lines have a long history especially clothing styles. Among a variety of subject of development and many drawing skills have been figure portrays, except that the clothes in the works concluded after continuous researches and practices by with the realistic theme of evil spirits were recreated painters of different eras and experience in abundant line based on the former life, all the other works basically drawing techniques and methods accumulated ceaselessly. objectively reflected life. Genre paintings mainly show Eighteen methods have been concluded regarding the the life of citizens and fully embodied the development line drawing methods for the smocking of figures and fashion of the times by portraying the environment and they are namely the so-called “eighteen lines”. With the clothing props of figures; for example, Riverside Scene characteristics of concise and distinct decorations, the at Qingming Festival etc.. design of figure images with line drawing methods can 1.2 Presentation of Skills and Methods of not be only perfectly present a variety of phenomena but Chinese Painting also gave them new life. There are six requirements for the style of drawing 1.2.1 Clothing Pattern With Different Lines in Chinese painting: Firstly, connections are needed in A most indispensible method for the style design changes. Long, short, thick, thin, heavy, light, soft and of Chinese painting is the use of lines, which is an hard lines should be used irregularly in combination independent factor for artistic creation. For this reason, with an objective image; not only mutual connections to follow and inherit the traditional characteristics of but also changes are required. Secondly, the style of Chinese painting, each painter must attach importance drawing needs to be natural and powerful to avoid to lines. Besides, portraying clothing patterns of figures dullness. Thirdly, the style of drawing needs to be loose, with various line drawing skills made Chinese ancient flexible and concise. Looseness and flexibility are people’s clothing images more vivid and also added many natural and casual phenomenon. It is required to mix creative inspirations for artists. Chinese painters created interest in vivaciousness and easiness and mix easiness the “eighteen-line method” based on different materials into dignity so as to avoid frivolity and slickness. of clothing. It is a method to show the techniques of Conciseness is mainly characterized by one stroke to the figure clothing painting with different lines. Besides, all end with a back sharp point. Fourthly, it is required to the “eighteen lines” have their especially unique names, couple hardness with softness; namely, there should be including iron-wire line, smooth line, nailhead and rat tail a robust power in softness. The frequently said “cotton line, peglike line, bent reed leaf line, floating gossamer with iron” is a perfect presentation of coupling hardness line, mixed line, string line, bamboo leaf line, stick line, with softness. Only in this way, the line drawing can be thick stick line, earthworm line, date pit line, olive line, used ingeniously in the steady and robust back sharp Cao-clothing line and water-wave line etc. With the point. Fifthly, skillfulness and dullness need to be used features of softness and droop, Chinese clothes usually float with wind and naturally droop without wind. In alternatively and the style of drawing needs to be simple the Chinese figure painting, “Cao clothing out of water” and honest. Namely, mix some dullness in the ingenious exactly emphasizes that clothing pattern is drooping techniques of drawing and mix some techniques in the without wind. Wu Tao-Tzu, a painter of Tang dynasty, was dullness; alternative use of the two can also show the skillful in portraying figures with Taoism-Buddhism and connotation of this method. Fourthly, tenderness should formed the “Wu style” with “flying full sleeve, big gown, be mingled into maturity. The smooth techniques of skirt and silky belts” based on the content of Taoism- drawing show elegance and immaturity while the mature Buddhism; this provided a basis for showing the elegancy techniques show an implicit vigor of strokes. However, of clothing. a large range of mature techniques will result in a lack Line drawing, which is not only a leading factor, which of vividness in the whole works, so the element of forms the national style of Chinese painting, but also a tenderness should be mingled with mature techniques main way to shape figures in Chinese ethnic painting, and this is the so-called mutual effect of dryness and is a method which show the shape, feeling of quantity, moisture. volume and sense of movement of an object mainly with 1.2.2 Using Varies Techniques and Methods to Show thickness of line, turns of line, false or true line, long or the Colors of Clothing short line, light or heavy line and other various techniques A painter’s painting style cannot be separated from all of drawing. Coloring is not needed in a painting with line sorts of clothing styles, which not only include the elegant drawing, which can be applied with colors of light ink, and drooping clothing styles but also are mixed up with 41 Copyright © Canadian Academy of Oriental and Occidental Culture Inheritance and Development of Chinese Ancient Figure Painting and Modern Fashion Drawing simple, powerful, reserved, plain, demure and graceful it also tells us it is not easy to control the rendering and clothing styles to embody the texture of gown mainly color setting.