| This thesis intends to discuss the following three issues:1. During the period between 1949 and 1966, the policy of literature and arts of New China is that they "serve for workers, farmers, soldiers as well as the politics of the proletariate". As a result, a campaign to reform the Chinese paintings arose throughout the country, which contributed to the new school of Chinese painting composed of new style of figure painting, landscape painting, and bird-flower painting.2. The formation of new style bird-flower painting is closely associated with the Party's "Double-hundred" policy, a cultural policy that promotes freedom and tolerance, Guo Moluo's paintings and calligraphies entitled "A Hundred Flowers Blossom" and Mao Zedong's poem themed "To Flowers". Painters across the country reacted to policy promptly and positively. Among them, the "new school of Shanghai painting" and "new style of bird-flower painting" are of typical value. Both the opening of "art exhibition of bird-and flower painting of Shanghai style" in 1961 and the publishing of "The Painting Manual of Bird-flower Painting" in 1965 represent the highest level of new school of Shanghai painting in the past 61 years. Tang Yun is a representative and academic leader in the field of new style of bird-flower painting.3. The reason why Tang Yun has achieved a great success in new style of bird-flower painting that is fasicinated by people and become a representative and core figure in this school is directly connected with his magnetic personalities, profound artistic qualities, all-around painting expertise, his philosophy of "the unity of self and no self" and his creative achievement in his works of new style of bird-flower painting. His paintings express the public's passion for the new age and new life. Tang Yun did not mean to cater for the taste of the particular politics, however, his works happened to be in line with the high spirit of the public encouraged by this particular political atmosphere.
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