A Study On The Spirit Of The Painting Of Flowers And Birds In Yuan Dynasty

The Yuan Dynasty is a very important turning point in the history of Chinese painting.In this period,the pattern of Chinese flower and bird painting changed from palace realism to literati ink freehand.In the process of transformation,the aesthetic mood of literati is increasingly prominent.Zhao Mengfu put forward the view that "calligraphy and painting are the same as each other" to explain and advocate calligraphy brush in the process of painting creation.In the special social and cultural background of Yuan Dynasty,the development of painting reflects the awakening of painter's self-consciousness and the change of values.This kind of transformation is reflected in the emphasis on the interest of pen and ink on the screen.The screen is not only to show the objective image of the natural image to please people or decorate,but to show the spiritual pursuit of the creative subject through rich changes of pen and ink on the carrier of the natural image.At the same time,the literati consciously joined the group of picture events,which improved the literary accomplishment of the group of picture events and thus increased the literariness of painting.The painting of flowers and birds in Yuan Dynasty has both modeling and freehand brushwork spirit.At the same time,it shows the free spirit of literati and the personality spirit of gentleman.The study of the ink spirit in the flower and bird paintings of the Yuan Dynasty can clearly explore the development of the flower and bird paintings from song to yuan,then to Ming and Qing Dynasties,including reference,change and development,and explore the power and trend of the development of the flower and bird paintings.