The Reflection Mode Of The Court-style Bird-and-flower Paintings Of The Song Dynasty

the Court-style bird-and-flower paintings of the Song Dynasty are the peak of bird-and-flower paintings in China's history.Comparing the Court-style with bird-and-flowers of later ages reveals important sources for reference.As is known to all,traditional Chinese paintings relied upon imagoes for models.And the status and achievement of the Court-style bird-and-flower paintings of the Song Dynasty is closely related to their unique reflection mode of “observation-perception-response”.Reflection is a painting method of traditional Chinese painting,with “investigating things to extend knowledge” being the core philosophy of the Court-style bird-and-flower paintings of the Song Dynasty.Song's painters used this approach to get to the essence and nature of things by portraying the dynamics of things and highly valuing the innate laws of things.The Court-style painters led by Emperor Huizong practiced this concept to the extreme,with them being expert in studying living habits of animals and plants,conducting life-like portraits of objects based on both emotional and logical thinking,and reflecting nature through highlighting the unity between the nature and mankind.Taking the reflection mode of the Court-style bird-and-flower paintings of the Song Dynasty as research subject,this thesis utilizes comparative analysis between historical documents and art works while referencing theories of iconography,semiology,culburology and history,to examine systematically the origin,content,characteristics and artistic ideorealm of the Court-style bird-and-flower paintings of the Song Dynasty.Through the study,beneficial references shall be drawn from the ancient painting school to contribute to the succession and development of modern Chinese bird-and-flower painting.