"Shu State" And "Jiangnan":The Generating Of The Image Style Of Tang And Song Dynasties Flower And Bird Painting

In the flowers and beauties,the hibiscus flower is not outstanding.But its tender and beautiful are comparable to peony,its grace is like Xishi,its character is the same as a gentleman.Therefore,it is a rare species in the ancient flower culture with both riches and seclusion meanings.Its unique identity and multi-faceted social connotation provided us the possibility of studying on image style and cultural connotation by the theme of the hibiscus.Since ancient times,there are text and image expression on the hibiscus by literati people.The Shu and Jiangnan are the two major origins of hibiscus,the painters there have regional characteristics of different forms and styles in the expression of the hibiscus.The hibiscus’ cultural meaning,image style,and connotation developed with the changes of the times,politics,geography.In fact,in this paper,the hibiscus is just a point of entry.Through the analysis of it,we try to do a glimpse of the whole,it introduced our study lines to the Tang and Song Dynasties when the hibiscus articles and paintings concentrated,"Tang and Song Dynasties" includes the Tang Dynasty,the Five Dynasties and the Song Dynasty.From the perspective of the development of flower and bird painting,the Five Dynasties and the Northern Song Dynasty were the key period of the construction of the pattern of flower and bird painting.The flower and bird painting of this period experienced a rapid development after its independence painting style in the Tang Dynasty,and formed two far-reaching styles: “the Huang style”and “the Riches style”of the the flower and bird paintings and hibiscus paintings,which were originated from Huang Quan and his son Huang Jucai of Tang,Meng Shu(Xi Shu)with outstanding meritorious,the two styles were popular in the court and the people,which is difficult to shake.In the historical construction of "Huang style",the hibiscus flower is graceful with riches and honour.At the same time,Xu Xi,from Jiangnan(South Tang),because of his different style to Huang style,gradually built the "Jiangnan style" of flowers and birds painting and hibiscus painting.The “Xuxi Wildness”style and paradigm gradually permeated through people,and penetrate into the court,you can say it is full of strong staying power.In the historical construction of "Jiangnan style",the hibiscus flower is low-key subtle,such as the hidden gentleman.Above is one of the clues to this paper.But we will eventually study "the paintings in the painting environment"(Niuke Cheng),rather than isolated style and style.The historical construction of "Huang style" and "Jiangnan style" is closely related to the emperor’s will,regional and cultural identity,and the development of literati painting.Therefore,the two regions of "Shu" and "Jiangnan" of the Tang and Song dynasties,as well as the "painting environment" differences arising from the two regional cultures,the development of the influence of the emperors of the Northern Song Dynasty and the thought of literati painting,above is another clue-a clue about the "painting environment" of the pattern and style of bird and flower painting.