Integration of Internal Structure in Ink Figure Painting

This paper explores the internal structural integration of ink figure painting, with a particular focus on freehand depictions of ethnic minority figures. It analyzes the organic fusion of compositional language, modeling language, brush-ink language, and personal language. By comparing compositional concepts from both Chinese and Western traditions—where traditional Chinese painting emphasizes artistic conception and scattered perspective, while Western painting prioritizes linear perspective—the study examines how modeling training and innovations in brush and ink facilitate mutual influence. Flexible compositional language can break away from outdated symmetrical or centered patterns, enabling open spatial structures and expressive brushwork that contribute to the development of personal style. The innovation of this research lies in its systematic articulation of the compositional mechanisms in ethnic minority freehand figure painting, highlighting the critical role of integrating traditional ink painting elements with personal language, thereby offering a new perspective for related theoretical exploration.