<?xml version="1.1" encoding="utf-8"?>
<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">SSR</journal-id><journal-title-group><journal-title>Scientific and Social Research</journal-title></journal-title-group><issn>2661-4332</issn><eissn>2981-9946</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/ssr.v6i3.6435</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>Image Thinking and Modeling of Chinese Painting</title><url>https://artdesignp.com/journal/SSR/6/3/10.26689/ssr.v6i3.6435</url><author>ZhouZhensheng</author><pub-date pub-type="publication-year"><year>2024</year></pub-date><volume>6</volume><issue>3</issue><history><date date-type="pub"><published-time>2024-03-30</published-time></date></history><abstract>As the essence of Chinese traditional culture, Chinese painting is distinguished from other paintings by its unique art form and expression technique. Among them, image thinking and image modeling are the soul of Chinese painting, which is an important way to express the artist’s unique feelings and thoughts, and also the source of the unique charm of Chinese paintings. Therefore, this paper mainly explores the image thinking and modeling of Chinese painting, and its importance, and analyzes the application of image thinking and modeling in Chinese painting.</abstract><keywords/></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>Fu Y, 2023, Rev. Research on the Status Quo and Trend of Chinese Painting Creation in the New Era. Fine Arts, 2023(12): 58–65.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B2" content-type="article"><label>2</label><element-citation publication-type="journal"><p>Wei H, 2023, On the Function of Chinese Painting. Cultural Industry, 2023(33): 37–39.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B3" content-type="article"><label>3</label><element-citation publication-type="journal"><p>Wei X, Feng J, 2023, Discussion on the Decorative Reference of Traditional Chinese Painting in Chinese Print Advertising Design. Journal of Shanxi Radio and Television University, 28(02): 73–76.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B4" content-type="article"><label>4</label><element-citation publication-type="journal"><p>Wang F, 2023, Discussion on the Image Thinking and Image Modeling of Chinese Painting. Research on Fine Arts Education, 2023(11): 13–15.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B5" content-type="article"><label>5</label><element-citation publication-type="journal"><p>Sun J, 2023, Research on the Application of Chinese Painting in Ceramic Decorative Art. Ceramic Science and Art, 57(04): 78–80.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B6" content-type="article"><label>6</label><element-citation publication-type="journal"><p>Qi W, 2023, Image Shaping and Identity —— See Zhang Peng’s Modernity Exploration Path of Chinese Painting from the Self-Portrait. Aishang Fine Arts, 2023(01): 29–33.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B7" content-type="article"><label>7</label><element-citation publication-type="journal"><p>Tian L, 2022, Warm and Pure Image —— Read the Chinese Painting of Hole Zi. The Art of Painting and Calligraphy, 2022(06): 27–29.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B8" content-type="article"><label>8</label><element-citation publication-type="journal"><p>Zhang L, 2022, Study on the Image of “Women and Guqin” in Chinese Painting. Chinese Calligraphy and Painting, 2022(01): 18–21.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B9" content-type="article"><label>9</label><element-citation publication-type="journal"><p>Hu H, Hu Sheng S, 2021, On the Application of Chinese Figures in Chinese Painting. Ceramics, 2021(11): 153–154.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B10" content-type="article"><label>10</label><element-citation publication-type="journal"><p>Wang Z, 2021, The International Image Shaping of the Beijing School of Painting in the 1920s —— an Interpretation of the Concept of “Modern Chinese Painting”. Fine Art Observation, 2021(11): 49–54.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B11" content-type="article"><label>11</label><element-citation publication-type="journal"><p>Liu Y, 2021, Interpretation of the Line Charm of Chinese Painting Figures. China National Expo, 2021(17): 148–150.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B12" content-type="article"><label>12</label><element-citation publication-type="journal"><p>Mao J, 2021, Research on the Artistic Expression of Fishermen’s Images in the Creation of Chinese Painting. Research on Fine Arts Education Research, 2021(16): 62–63.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B13" content-type="article"><label>13</label><element-citation publication-type="journal"><p>Zhang X, 2021, Research on the Image Classification of Horses in Chinese Painting. Fine Arts Education Research, 2021(15): 22–23.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B14" content-type="article"><label>14</label><element-citation publication-type="journal"><p>Lin L, 2021, On the Image Modeling of Chinese Painting. Beauty and The Times (Middle), 2021(07): 42–43.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B15" content-type="article"><label>15</label><element-citation publication-type="journal"><p>Wang K, 2021, On the Relationship Between Ceramics and Chinese Painting. Ceramic Science and Art, 55(07): 63.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B16" content-type="article"><label>16</label><element-citation publication-type="journal"><p>Ren Y, 2020, The Shaping of Typicality in the Creation of Contemporary Chinese Painting —— Take the Tu as an Example. Art Review, 2020(14): 51–53.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B17" content-type="article"><label>17</label><element-citation publication-type="journal"><p>Zhang H, 2020, The Fusion and Analysis of The Plane Composition Principle in Contemporary Chinese Painting. Beauty and The Times (Middle), 2020(04): 10–11.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B18" content-type="article"><label>18</label><element-citation publication-type="journal"><p>Wang P, 2019, Female-Themed Chinese Painting Creation During the “Seventeen Years” Period of New China. Chinese Fine Arts, 2019(06): 74–87.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B19" content-type="article"><label>19</label><element-citation publication-type="journal"><p>Zhao N, 2019, Old Trees Grow with Flowers —— Reread Lu Fengzi’s Research on Chinese Painting. Journal of Suzhou Vocational College of Arts and Crafts, 2019(03): 42–45.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
