On Boneless Flower And Bird Painting Talking About Traditional Neo-confucianism

Chinese painting is a gorgeous flower cultivated from the soil of Chinese ideology and culture.Although the revival of Chinese painting has become an indisputable fact,up to now,Chinese painting still lingers in a very small circle of professional artists,unable to shine brilliantly.I think one of the important reasons is that people do not know the relationship between traditional Chinese painting techniques and traditional Chinese ideology and culture.The spirit and thought behind landscape painting and flower-and-bird painting are still neglected even in the upsurge of traditional Chinese studies,and the Neo-Confucianism retained in them has not been fully excavated up to now.The national characteristics of Chinese painting were basically formed in the Five Dynasties and the Song Dynasty,and the Song and Yuan Dynasties were the peak and finalization periods.Chinese painting has attracted much attention during this period.Although there are internal reasons for the development of art itself,the external social,ideological and cultural reasons cannot be ignored.Since then,the development and change of Chinese painting has a great connection with the ups and downs of social ideology and culture.The influence of Neo-Confucianism on Chinese painting can be seen not only in paintings,but also in theoretical works of painting.Based on this,this paper tries to find the relationship between the development of boneless flower-and-bird painting under the traditional Neo-Confucianism,and try to explore the influence of Neo-Confucianism on boneless flower-and-bird painting.This has certain theoretical and practical significance for the conservation,innovation and development of boneless flower-and-bird painting and even Chinese painting.At present,most of the studies on boneless flower-and-bird paintings are the introduction of individual boneless flower-and-bird painters and the simple textual research in the process of spreading boneless techniques.There is basically no in-depth study on the influence of external factors on boneless flower-and-bird paintings except for the development law of boneless flower-and-bird paintings themselves.So after explaining the reason and background of the topic selection in the first chapter,this paper takes the second chapter,the third chapter and the fourth chapter as the key chapters.Under the background of the rising of the spirit of physical character,the mind-learning mind-set and the Park School,it tries to discuss the relationship between the evolution of painting language and the fine style of boneless flower-and-bird painting,the style of rate-writing,the style of fine-work-rate-writing and the use of style.In the last chapter,it is sorted out and summarized.After the concept of boneless flower-and-bird painting was established in the Northern Song Dynasty,under the influence of Neo-Confucianism,it presented a state of meticulous depiction of details,reflecting the meticulous attitude of Song people.After the transition of the simple style of ink and wash in Yuan Dynasty,by the mid-Ming Dynasty,boneless flower-and-bird painting developed into a style of expressing the heart from the inside to the outside under the influence of psychology.In the era of integration,Boneless Flower-and-Bird Painting emerged in the Qing Dynasty as a result of the revival of simple learning.A large number of excellent Boneless Flower-and-Bird Painters and masterpieces emerged,drawing on the accumulated painting techniques developed by predecessors.