The Use Of Decorative Language In Contemporary Spiritual Expression Of Flower-and-bird Painting

Spiritual expression of flower-and-bird painting is an important component of Chinese painting, because of the early influence of pottery, rock painting, bronze and the same homology of Painting and calligraphy and the combination of poem, calligraphy, drawing and seal, it has strongly decorative. Along with the time pass, people has made a lot of conversion of aesthetic idea of contemporary, and traditional flower -and -bird painting is hard to satisfy with the contemporary aesthetic demand. Therefore, contemporary artists profoundly research tradition and seize the pulse of the times, with inheriting, tolerance, criticism and re-creation attitude to innovate and develop modern new flower-and-bird painting forms, especially in color, composition and form rule aspects all presenting unique adornment effect. In today's cultural information era, there are lots of meaning and the adornment of flower-and-bird painting, such as GuoYizeng,He Shuifa,,Chen Guling,Jiang Wenzhan,Wang Jinyuan, Mei Zhongzhi,FangTu etc, representative spiritual expression of flower-and-bird painting, and they have made a big difference and breakthrough, especially in ornamental color, composition and form on the aesthetic ,making deep impression to persons, with their paintings having distinct national characteristics and contemporary breath.Through the following three parts, this article is expounding contemporary decorative language of flower-and-bird painting.The first chapter analyses flower-and-bird painting decorative language: define the decoration and ornamental meaning, divide the same and differences with adornment and decorative picture, flower-and-bird painting language in ornamental line, color and ink ornamental characteristics. The second chapter through inheriting the traditional, the impact of foreign art , and contemporary Chinese aesthetic demand change express the reason of contemporary spiritual expression of flower-and-bird painting ornamental characteristics. The third chapter is mainly chapters in this paper. In this part contemporary flower-and-bird painters` works are given as examples for analyzing contemporary flower-and-bird painting decorative language in color, composition and compositing expanding using for aesthetic principles.Adornment language in contemporary using of spiritual expression flower-and-bird painting opens up a wider aesthetic field and forms, but people must note that the ornamental use should seize "degree" and should accomplish properly, avoiding formalism. Never slackens Chinese painting spiritual and ideological content.Through analyzing contemporary decorative in the spiritual expression bird-and-flower painting expanding use, this paper reveals the importance and necessity of adornment using in Chinese contemporary spiritual expression bird-and-flower painting. Hope that the theory and practice for the contemporary bird-and-flower painting can give creators good guidance and reference. Through a lot of reading related papers and documentary ,the writer finds many papers about Chinese age flower-and-bird painting, but few of adornment using in Chinese contemporary spiritual expression bird-and-flower painting, which is the research value and in new meaning of this paper.