Flowers And Birds Of The Origins Of Traditional Ink And The Quiet Edge Of Change Illustrates Micro-jue

The paper includes five chapters. According to the initiation, establishment, development and evolution of flower-and-bird ink and wash, the paper expounds the aesthetics, artistic origin and style, master and discipline relationship based on images and literary materials. Combining with his own painting practice of flower-and-bird ink and wash, the author gradually expounds his painting and academic point of view, being reasonable, objective and informative.The author concludes four styles and features of flower-and-bird ink and wash, namely the royal palace style, traditional literati style, Zen style with meaning of Buddhism practice, and folk style with marketplace connotation.The first chapter focuses on historical and cultural origins of flower-and-bird ink and wash. By discussing the establishment of styles of flower-and-bird ink and wash, it extends to discuss the cultural connotation and related aesthetics. The author holds that art of any kind has inherent theoretical basis due to historical and cultural inheritance and the edification of the times, or rather traditional culture and external fashion. The formation and development of flower-and-bird ink and wash is directly or indirectly influenced by the two cultures.The four styles of flower-and-bird ink and wash are discussed separately in the second chapter and afterwards. The paper compares the most representative masters across space and time. For example, the second chapter compares paintings of two royal painters, namely Emperor Huizong Zhao Ji of the Song dynasty and Emperor Xuanzong Zhu Zhanji of the Ming dynasty as well as their calligraphy, and thus expounds the development of royal paintings. It also includes other representatives of the palace painting.The third chapter gives examples of the advocator of literati painting in the Northern Song dynasty Su Shi and Xu Wei in the Ming dynasty, accomplished at freehand flower-and-bird ink and wash. The chapter expounds views on the literati painting in the discussion and comparison, and further explains the viewpoint by introducing paintings of four men of honor.The fourth chapter describes the influence of Zen of Buddhism on flower-and-bird ink and wash. It gives examples of Fachang in the late Song and early Yuan dynasty and Zhu Da in the late Ming and early Qing dynasty. It refers to "a flower with five leaves" of the Zen school and its main ideas.The fifth chapter focuses on the flower-and-bird ink and wash created by folk painters. It intentionally compares their paintings with those of anonymous and famous artists in earlier dynasties, so as to explore the origin and affinity between folk painters and flower-and-bird ink and wash.By probing into the "origin" and "affinity" and combining with documents and images, the paper sorts out the development context and framework of flower-and-bird ink and wash during its evolution.Traditional flower-and-bird ink and wash is an important part of traditional Chinese painting, is a painting style with tradition, and is an important image document in the development of Chinese history and culture. It contains both the common aesthetic of traditional Chinese culture and a unique affinity with calligraphy. Flower-and-bird ink and wash embraces both stability and consistency of internal culture and variability and complexity of external form. Its initiation and establishment stems from the respect for the simple and natural beauty, and results from the continued accumulation of traditional Chinese culture and thought. It also reflects the aesthetic ideology in social political and economic development. Its development and evolution is related with the religious belief, interests, pursuit and aesthetic, as well as the change of aesthetic orientation in a specific social and historical period.In modern pluralistic culture, flower-and-bird ink and wash along with many other painting styles constitute contemporary painting art. The creation of flower-and-bird ink and wash should base on the history, be consistent with the spirit of the times, combine with life experience and be creative and innovative. We should rationally grasp the direction, emotionally highlight the passion, enhance the value and charm of flower-and-bird ink and wash with wisdom, and ultimately complete the historical transition of the art of flower-and-bird ink and wash.