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Emotional Expression in Imagery Ink Painting

Shusheng Pan

Abstract


This paper analyzes the emotional expression in the creation of imagery ink painting, starting from its practical significance. It explores this aspect by combining the creation process with the personal emotions of the artist. Color is a concept that all painting works must
address, whether it is Western oil painting, Chinese grotto murals, or Japans mainstream Iwa-gara painting. All of these involve color as an
important factor in painting. As for how to express better visual effects and rich personal emotions, it requires incorporating the different expressive methods involved in each type of painting.
??This paper thoroughly investigates the relationship between color, the content expressed during the artists creation process, and the
interplay between personal emotion and formal language. The innovation of this paper lies in addressing the gap left by previous studies that
focused merely on interpreting painting techniques, by analyzing and summarizing the relationship between painting techniques and emotional expression, grounded in the personal practical experience of the artist.

Keywords


Imagery Ink Painting; Color; Emotional Expression

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References


[1] Yu Fei'an. Research on the Colors in Chinese Painting [M]. People's Fine Arts Publishing House, May 1958.

[2] Niu Kecheng. Color in Chinese Painting [M]. Hunan Fine Arts Publishing House, May 2002.

[3] Tian Liming. Masterpieces of Tian Liming [M]. Henan Fine Arts Publishing House, January 2005.

[4] Li Jiaxin. An Analysis of the Application of the Integration of Chinese and Western Cultures in Painting Creation [J]. Art Life & Literature Sea, 2013(7):39-39.

[5] Wang Yi. My View on the Integration of Chinese and Western Fine Arts in Modern and Contemporary Times [J]. Youth Years, 2015(10):108.

[6] Song Zhu. A Brief Discussion on Emotional Expression in Painting Art [J]. Journal of Painting, 2017(19):253-253.

[7] Tan Xiaohan. Appreciation of Liu Qinghe's Ink Painting Works [J]. World of Calligraphy and Painting, 2020(9):83-84.




DOI: http://dx.doi.org/10.70711/rcha.v2i10.5958

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