The Creation Of Boneless Flower-and-bird Painting From Contemporary Perspective

As the treasure of traditional Chinese art,flower-and-bird painting has become more and more flourishing since it was independent from traditional Chinese art at Tang dynasty.Xu Beihong has made a high appraise about traditional flower-and-bird painting once,he said that the painting is the highest level in traditional Chinese art,while the flower-and-bird painting is the most beautiful work in painting,because they keep more real spirit.As a distinctive form in traditional Chinese painting,the boneless flower-and-bird painting had come through a long period of time from technical language to a kind of painting style.In the technique of traditional Chinese painting,we call that using ink line to draw the shape of object that “bone”,while call those totally drawing with color and with no delineate “Mogu painting”.It means that drawing with no line and just using ink or color to depict the shape.The principal feature about Mogu painting is various but harmonious.They put color,water and brushwork together to make the works with more flexibility and liberty.Meanwhile,this way can enrich the expression of flower-and-bird painting,for it is rigorous and freely.Boneless flower-and-bird painting is the compromise of literacy painting and royal painting.Boneless flower-and-bird painting originated from the Northern Song dynasty,and had a great development in Ming dynasty.After that,it became almost perfect until the early Qing dynasty,while the work of Julian changed the sense of traditional art.This innovation had a great significance to boneless painting.As a particular painting language,it has far-reaching impact on future generation and many artists profit from it at the same time.Contemporary boneless painting is based upon the traditional art.It always catches people's attention with its distinctive charm.However,boneless flower-and-bird painting is restricted in the creation over a long period,and also has little relatively literature about boneless painting.Therefore,the research of the boneless flower-and-bird painting is particularly significant,for it is a rich and valuable topic to contemporary Chinese art.Ye Lang,the philosophy professor in Peking University,said that we should not ignore the history,theory and the status in any subject research.Putting the history of boneless painting in order is the essential work for contemporary art creation.Indeed,I begin to collect and reorganize the historical literature records and reference from the previous research about traditional boneless painting on the basis of this train of thought,which extend to me such a valuable material.Generally speaking,this paper begins with the origin and development of boneless flower-and-bird painting,and then explores the present situation and the characteristics of contemporary boneless flower-and-bird painting.It includes the inheritance from the traditional,and the aesthetic meaning of using water and color in contemporary flower-and-bird painting.To sort out the development of ancient and modern boneless flower-and-bird painting,for one thing is to be able to learn more knowledge about boneless painting and do basic step to prepare for the deep research in the future,for another thing is to open my eyes for the better creation.Nowadays,the boneless flower-and-bird painting follows the traditional track as develop source,showing a broad development prospects in the diversity of aesthetic concepts and the integration of the eastern and western culture favorable conditions.Contemporary fine brushwork painters carry out the diversity exploration and make hard practice to put the traditional techniques and the feeling of modern life into their creation,turning into a new painting concept.Finally,we should make good use of all this favorable condition given to artist by this era,to create the work with not only the spirit of the East but also the spirit of this new age.