The Late Ming Folk Blue And White Aesthetic Study Of Freehand Brushwork Of Flowers And Birds

This article first embarks from the late Ming Dynasty special social status and cultural background, from historical and cultural perspective to this period of folk blue and white freehand brushwork in traditional Chinese painting of flowers and birds style causes for in-depth analysis and second, respectively, from the angle of subject and beauty, brushwork and ink beauty, the beauty of composition and formal beauty exhibition open late Ming folk blue and white painting of flowers and birds aesthetic characteristics research. In this paper, the late Ming Dynasty, Rijianshuaila strength, political turmoil caused by the economic downturn, affected by the development of kiln. However kilns during this period has been the development of unprecedented freedom, under the special social environment and cultural background, porcelain paintings, especially blue and white in this special way of expression, be carrying with "vividness and vitality" as the ideal vehicle for the spiritual core of painting and calligraphy style. During the late Ming Dynasty, folk blue and white freehand flowers and birds of the style and features of development of the transformation is huge. It is not only form of change, is the major changes in thinking spirit, from which you can read a literati special temperament and interests. And through the analysis of the corresponding objects in this period, but also in the interpretation of its decorative painting process and skills, understand its inherent aesthetic ideas. This thesis is established under the original intention of this research, through to late Ming folk blue and white bird freehand processes, techniques, and the expression way and method of interpretation and analysis, to probe deeply into the expression of the corresponding aesthetic thoughts and emotions.