Study On Golden Pheasant Painting In Ming Dynasty

Chinese Bird-and-flower painting focuses on appearance. In Song dynasty, People tend to take their spirits, and in Yuan dynasty they prefer to taking their artistic conceptions, and in Ming dynasty people fuse these together. The painters in Qing dynasty follow them. And in Ming dynasty, people pay more attention to artistic conception and enjoyment, and less attention to the traditional Chinese realistic painting. Golden pheasant is popular with the emperors, painters,literati and officialdom in Ming dynasty. As the common theme in Chinese paintings, golden pheasant not only has its own aesthetic value, also contains the profound cultural connotation. It’s concerned with the ancient bird totem worship and folk culture. The noteworthy phenomenon is that the golden pheasant, chicken and pheasant are differences in concept and scope, but they are regarded as the same during Ming dynasty. In Ming dynasty, Lv Ji as the main representative painter of golden pheasant, his number of painting on golden pheasant can compare with Huang Quan and his son. Most of the court paintings in Ming dynasty are drawn by auspicious moral, and these are associated with the coercion affecting by literary inquisition in Ming dynasty. These phenomena are worth for us to explore.In this paper, the first chapter briefly explains golden pheasant and bird totem worship, the relationship between folk culture to analysis the cultural origin of golden pheasant painting. Meanwhile it contains the author’s worship towards the totem, the relationship between golden pheasant’s and phoenix bird. And it also introduces the relationship between the golden pheasant with folk hunting, diet, entertainment and some related folk beliefs. Based on paintings, the author analyses the historical background of golden pheasant and give an abridged table of golden pheasant from Tang to Yuan dynasty.In the second chapter, using the collected works of literature and drawings of golden pheasant in Ming dynasty, the author makes statistics and gives an table which briefly introduce the representative personages of golden pheasant court painting and golden pheasant literati painting in Ming dynasty. In the end the author briefly remarks other artists and works.In the third chapter, it emphasizes on the value and significance of the in Ming dynasty. First of all, it briefly introduces the education function of golden pheasant, emotions reflected in golden pheasant paintings, and different inner meanings for which golden pheasant stands for emperors, literati and officialdom. Later, it refers to the status, style and ideological heritage of golden pheasant painting in Ming dynasty. In the end, it briefly talks about the influence of the golden pheasant painting in Ming dynasty on later golden pheasant paintings, and the author’s thinking and awareness of the phenomenon on modern golden pheasant painting.