On The Technique And Dao Embodied In Flower And Bird Painting In The Song Dynasty

Before the Tang Dynasty,flower and bird painting only existed as the background of figure painting.It was only during the Tang Dynasty that it replaced its decorative function with the “identity” of the independent painting department,and gradually flourished during the period of the Five Dynasties and Ten Kingdoms.The art of painting is subject to the political,economic,cultural,and natural environment in which it is located.During the period of the Five Dynasties and Ten Kingdoms,the Northern and Central Plains regions were in turmoil for a long time.The political and cultural aspects lost their focus.Painters were no longer bound by the rulers,their minds were completely liberated,and the choice of painting themes was more liberal and open.The regimes of the West and Southern Tang in the South were relatively stable and economically rich.The rulers attached great importance to painting and established the Royal Academy of Fine Arts.The flower and bird paintings had developed vigorously and played a role in inheriting the past and promoting the prosperity of flower and bird paintings in the two Song Dynasty.In the Song Dynasty,flower and bird paintings had different painting styles at different times.The Northern Song Dynasty pursued the richness and splendor of flower and bird paintings,and the Southern Song Dynasty was more inclined to be refined and rigorous.In the early Northern Song Dynasty,the painting style was based on the “Huang Jia Fu Gui”.In the middle period,Zhao Chang’s painting of flowers and the painting style of Yi Yuanji’s in-depth living and advocating nature have shaken the position of “Huang Jia Fu Gui” to lead the academy.The ruler’s vigorous promotion of “Science” has had a profound influence on Cui Bai and Wu Yuanyu in the middle and later periods.Since then it has completely changed the painting style of the Fine Art Institute and created a new look for flowers and birds.The famous emperor painter Song Huizong and Zhao Yu of the Northern Song Dynasty loved and encouraged the painting and calligraphy art,and adopted the imperial examination of poetry and painting to open up a new trend of complementation between poetry and painting.Painting styles outside the painting institute include Wen Tong and Su Shi,who are good at painting wood and bamboo,forming a flower-and-bird painting that emphasizes the use of ink and wash,that is,"Literati Painting." After the demise of the Northern Song Dynasty,the Southern Song Dynasty was established.The Southern Song Dynasty still set up a painting academy.In the early period of painting,the main theme of the painting was still the “Xuanhe Style” established by Zhao Wei.Later,the flower and bird paintings were described with fine and precise performance techniques.In the composition of the painting,the scrolls,folding fans,and albums replaced the scrolls and scrolls of the Northern Song Dynasty.prosperity.The paintings of flowers and birds in the late Southern Song Dynasty mainly showed that the literati paintings gradually transformed into "paintings by literati" and changed the characteristics of the "playing brush" in the Northern Song Dynasty.In the Southern Song Dynasty,there were no literary painters who had gathered all kinds of art like Su Shi,Wen Tong,and Mi Shu.Therefore,there are obvious differences compared with the literati paintings of the Northern Song Dynasty.However,the greatest contribution of the literati painting in the Southern Song Dynasty lies in the creation of the concept of flower and bird painting combined with poetry,calligraphy,painting and printing.The influence of politics,culture,and art in the Song Dynasty on the acceptance thoughts.Under the guidance of Neo-Confucianism,the flower and bird paintings of the Song Dynasty gradually incorporated the “painting theory” and the “drawing law”into the paintings,prompting the flower and bird paintings to focus on the height of the Tao by paying attention to techniques and to pave the way for the prosperity of the flower and bird paintings.