Artistic characteristics of flower-and-bird painting

As the object of beauty in nature, birds' songs and flowers, as early as three generations ago, the poet had six meanings, had a better understanding of the names of birds, animals and plants, and the beauty of painting was here one after another, just like the poet. According to documents, Gu and Liu Yinzu in the Six Dynasties were both good at cicada birds, and their calligraphy was meticulous, rich in color and implicit, which was the bud of flower-and-bird painting. In the Tang Dynasty, Xue Ji's paintings, Feng Shaozheng's painted chicken and Jiang Jiao's painted eagle were all famous at that time and lifelike in meticulous brushwork. After the middle Tang Dynasty, flower-and-bird painting officially became a branch, which can be used as a symbol. Among them, Bian Luan has the highest achievement. Good at sketching, meticulous brushwork and thick colors. His calligraphy is light, colorful and vivid. The spread of flower-and-bird painting and the techniques of achromatic painting in China have reached a considerable level in Bianluan.

In the Five Dynasties, under the banner of "Huang Xu makes strange people", flower-and-bird painting became mature. At that time, the painting circles in West Shu were brought into the traditional techniques of Tang Dynasty by Xi Guangyin and Teng Changyou, and further developed by Huang Quan and his son. The painting style is gorgeous and full. Xu Xi is the representative of the painting circle in the Southern Tang Dynasty, and the artistic conception is light and beautiful. As the saying goes, Xu Xiye is called "flower and bird", and later generations call it "flower and bird".

Huang and his son have sketches of rare birds and a picture of a mountain bird with thorns, and their styles and techniques have survived the world. Generally speaking, the outline of an object is first drawn with fine ink lines, and then colors are rendered in the corresponding outline according to the different textures of the object, thus achieving a high degree of authenticity and vividness. However, the original works of Xu Xi and Southern Tang Dynasty have not been circulated, and there is no way to research the style and techniques of Xu Xiye Yi. In the early years of the Northern Song Dynasty, Huang Er monopolized the power of the painting academy and tried his best to crowd out the Xu Xi painting school, so the painting style of "Royal Fu Gui" became the standard for evaluating the merits of the painting academy. Therefore, in about 100 years, many painters inside and outside the courtyard wall followed the example of corpus luteum and followed suit in succession, seeking a foothold in the painting academy. Xu Xi's son, Even Xu Chongsi, had to give up his family's dripping ink method and created a boneless method in which colored paintings replaced ink.

Of course, there were painters who were not caught by the corpus luteum in this period, such as Zhao Chang, who specialized in writing and used the boneless method. Although they still belong to meticulous painting, they have a faint and far-reaching charm compared with the wealth and beauty of the Huang family. At that time, people commented that its color was wonderful and unparalleled in the world. Another example is Yi Yuanji, who went deep into Wanshou Mountain for a hundred miles and saw the wandering posture and wildness of monkeys. His style is a bit rough, and he got rid of the flashy, so he was promoted to be Xu Xihou. Among the literati, many people admire Xu Xi School of Painting. Since the mid-Northern Song Dynasty, there has been a wave of literati painting with dead wood, bamboo stone and Mei Lan as themes. Later, chrysanthemum was collectively called "Four Gentlemen" and became a special category of flower-and-bird painting, which lasted for thousands of years.

At the same time, the flower-and-bird creation in the Palace Painting Academy began to get rid of the luteal family. Cui Bai and Cui Yan, two folk brothers, are mostly interested in water and sand as flowers and birds. Their painting style is light and clear, extravagant and eager to fly. Although it belongs to the category of meticulous painting, it has obviously tilted towards extensive and light style, pursuing "loneliness" and "wild interest", and ushered in the all-round prosperity of flower and bird creation in the hospital. Song Huizong Evonne spared no effort in the construction of the Academy, especially in advocating flower-and-bird painting. To sum up its requirements for painting art, it can be roughly summarized into two points: one is to pay attention to the pursuit of objective authenticity from sketching, and the other is to pursue meaning through proposition examination. Under its influence, the flower-and-bird painting in the academy at that time showed vivid images and vivid artistic conception. Compared with the second yellow, it has made great progress. There are two styles of painting, one is heavy color painting, which originated from corpus luteum, and the other is light ink painting, which originated from Xu Xi. There are two styles: one is the meticulous brushwork with thin hooks and light dyes, which is the same as the courtyard, but it turns the color into ink, and the other is the brushwork with thick hooks and heavy dyes, which points and folds at the same time, but still insists on the shape.

The authenticity of elephants. The flower-and-bird paintings in the Southern Song Dynasty Palace Painting Academy were directly or indirectly influenced by Evonne. Many famous painters, such as Li Anzhong and Li Di, were painters in Xuanhe Painting Academy.

In addition, such as Lin Chun and Wu Bing. , are all masters. In terms of specific painting methods, although the Southern Song Dynasty Painting Academy is in the same strain as Xuanhe Painting Academy, Xuanhe Painting Academy mostly created large-scale paintings, as Li Di did in the early years of the Southern Song Dynasty, while the Southern Song Dynasty Painting Academy mostly created small-scale paintings with a bucket style and a round fan style. So as far as the artistic conception of the wind is concerned, the former has magnificent scenery and the latter has fresh wrists. In addition to meticulous painting, the Zen forest at that time also turned the flower-and-bird painting circle into an epiphany. The painting method is freehand brushwork in ink and wash, which is extremely bold and unrestrained, without deformation at all, and its artistic conception is beyond Xu Xi's splash-ink method. Liang Jie, who first entered the painting academy and then entered the Zen forest, mostly focused on the distant view, and Mu Xi wrote more close-ups; Kai Liang is good at using pen, and his personality is rigid, while Muxi is good at using ink, and his personality tends to be slightly softer. This painting style was later spread to Japan, which had a far-reaching impact on Japanese painting circles. Among the literati, other than dead wood, bamboo stone and Mei Lan, such as Yang Wuxia and Zhao, can also draw ink and wash. The painting method of miscellaneous flowers is meticulous double hooks, which is different from the stacking of plum, orchid and bamboo, but elegant and agile. In Yuan Dynasty, because Zhao Mengfu strongly opposed "modernity" and thought that the painting style of "slender pen and rich colors" was "lacking in ancient meaning, with various diseases and not impressive", he stopped the meticulous painting styles such as flowing flowers and falling flowers. Zhao Chang's only paintings selected by Qian are exquisite and rustic. After Lin Chun, Ren Renfa's paintings are obviously dull, far less vivid than those in the Song Dynasty. At the same time, Kai Liang, whose ink on the Muxi River is extensive, is also appreciated by Yuan people, who think that there is no ancient law for coarse evil, and it is really unsightly to play. They admired Zhao's neat and light ink-and-wash flowers and birds all the way, and at the same time, influenced by the four gentlemen of ink-and-wash painting, they created an elegant atmosphere of playing with flowers and birds with ink-and-wash flowers and birds, which not only greatly transformed the courtyard flowers and birds, but also expanded the theme of literati painting in the field of flower-and-bird painting, which played a pioneering role in paving the way for the rise of literati flower-and-bird painting after the Ming Dynasty.

Chen Lin and Wang Yuan in Yuan Dynasty were professional painters, and their painting methods were pure discharge, rigorous realism, steady bones and gorgeous presentation, which reflected exquisite skills. However, the artistic conception and artistic conception caused by color-changing ink painting are elegant and quiet, while another Zhong Zhang is a literati painter, whose painting style has changed into a rigorous depiction of the courtyard, and he uses a loose and elegant brushwork.

After entering the Ming Dynasty, the palace flowers and birds were once revived, from meticulous brushwork to coarse brushwork. For example, the whole school of Bianwen studied "Huang Jia Fu Gui", with double hooks and colors, which were a bit too flashy. Lin Liang is good at ink painting. Although rough grass is used, it is bold and unconstrained without losing the strictness of the statutes, which is different from literati. Lu made the mistake of emphasizing color over ink painting. People who emphasize color are more lively and lighter than Bian Jingzhao. In addition, Jinmen served Sun Long and often discussed painting art with Xuanzong Zhu Zhanji. Their styles are similar, and Sun Long has the highest achievement. His painting method is not sketched with pen lines, but directly stippling with colors, making full use of the natural infiltration and connection of different color levels, showing the dripping texture of objects and having the effect of modern watercolor painting; The description of its image does not seek the truth of the details, but often takes the virtual as the true, concise and meaningful, which is different from the courtyard. Later, the development of literati flower-and-bird painting undoubtedly changed from color change to ink painting on this basis. A good meticulous flower-and-bird painting, the hook line should be straight and powerful, and the color should be even and elegant. The meticulous flower-and-bird painting handed down from generation to generation has remained unchanged in color after years of air-drying, all because the painter's choice of painting tools and pigments is extremely strict. This change in pen and ink habits marks that the flower-and-bird painting school, which is mainly based on ink freehand brushwork, has really entered the aesthetic category of literati painting, and Badashanren and Shi Tao represent the highest achievement of this painting school. Although Shi Tao's flower painting method is also freehand, his emotional appeal is not as bleak and lonely as it was after the national subjugation. He is full of longing and longing for life with rich and handsome pen and ink, fresh and unrestrained talent and naive atmosphere, which is in sharp contrast with the fantasy artistic conception of the Eighth National Congress. Another adherent painter, Shou Ping, created a sketch style that has never been seen since the Song, Yuan and Ming Dynasties, which was after Chen Hong.

A school of meticulous painting, full of literati and scholarly atmosphere, without bones or stains, is full of vitality and gets rid of the habit of being rich and depressed in the courtyard.

It has three characteristics: first, it is called the vivid and extremely realistic appearance of flowers; Second, the color rendering is elegant and exquisite, and third, the brushwork is charming and vigorous, graceful and graceful, which is compared by critics to "a person who looks at the sky from the side." There used to be many literati who were introduced to the Palace Painting Academy, such as Jiang Tingxi and Zou Yigui, who all inherited their mantle and were called "decent sketches" by the world. The palace flowers and birds at the time of Qianlong's reign, in addition to their decent sketches and gaudiness, also have the "combination of Chinese and Western" represented by Lang Shining. The painting system adopts the concept and method of western painting, and uses the tools and materials of Chinese painting to paint. This image is depicted in several photos, but there is nothing in it. Therefore, "although it is not a craftsman, it does not enter the painting." However, in Yangzhou painting circle outside the palace, flower-and-bird painting was in its heyday, which obviously overwhelmed the momentum of landscapes and figures. Zhao, Si Ren, Xu Gu and Wu Changshuo of Shanghai School in the late Qing Dynasty were all called giants, and their * * * feature was that they attached importance to epigraphy and calligraphy. As the best form of commercialization of Chinese painting, it provides a successful opportunity for the transition from traditional painting to modern painting by depicting rich and fresh colors and auspicious themes. Among them, Hao Han pioneered modern flower-and-bird painting.