Before And After The Founding Of China,Yufeian Studied The Rheological Study Of The Painting Style Of Gongbi Flowers And Birds

Yu Feiyan’s place in the history of modern Chinese painting is pivotal,and his far-reaching influence has affected all aspects of modern and contemporary Gongbi flower and bird painting.Influenced by his father’s generation,Yu Feiyan,in the process of learning and creating Gong bi flower and bird painting,absorbed essence of tradition,borrowed from folk art,and constantly accepted the penetration of the spirit of the times in the social changes of his life,gradually formed his own unique artistic style,and opened a new world of modern Chinese Gong bi flower and bird painting.At the beginning of the founding of New China,in the face of the new political atmosphere,cultural system and artistic rules,Chinese paintings,including flower and bird paintings,had new tasks,goals and requirements.The development of Chinese painting is in the interplay of ancient and modern,Chinese and Western cultures.The change in the painting style of non-Min Gong pen flower and bird painting is not only an increase in quantity in a simple sense,but also a change in the theme and connotation,and the themes that the people like to see have become the focus of his works and the carrier of emotional expression.This project combines painting and historical facts,based on the analysis of non-Gong bi flower and bird paintings,combined with the value appeal of "literature and art serving workers,peasants and soldiers" in the 17th year of the founding of the People’s Republic of China,the socialist realist literary and artistic stance,and the influence of the concept of life drawing on the pattern of flower and bird painting,taking into account the ancient and modern changes of flower and bird painting,and analyzing the impact of the development and changes in the 17 years of the founding of the People’s Republic of China on the art of Chinese Gong bi flower and bird painting.The body is divided into three parts.The first part summarizes Yu Feiyan’s life experience and artistic process.Through the analysis of Yu Feiyan’s life experience and artistic process,it is divided into:the eighth banner of Shuxiangmen;Yiwen Yi Craftsman Widely Obtained;Explore the three stages of the road to sketching.From a macro perspective,this chapter summarizes the artistic process of non-Min according to the timeline,and sets the stage for exploring the specific expression of the rhetoric of the painting style of non-Min pen flower and bird painting before and after the founding of the People’s Republic of China.The second part analyzes the specific manifestations of the rhetoric of the painting style of non-Min Gong pen flower and bird painting before and after the founding of the People’s Republic of China.This chapter mainly explains the expression of the rhetoric of the painting style of non-Min Gong brush flower and bird painting before and after the founding of the People’s Republic of China.Against the background of Yu Feiyan’s life experience and artistic process,the four aspects of material conception,color expression,line use,and chapter layout are contrasted,highlighting the transformation,and extending the new characteristics such as the social function transformation of his works after the founding of the People’s Republic of China.The third part explores the reasons for the rheology of the painting style of non-Min Gong bi flower and bird painting after the founding of the People’s Republic of China.From the three influencing factors of social function change,theme change and concept of life drawing creation,this paper analyzes the specific reasons for the rhetoric of non-Min Gong pen flower and bird painting style before and after the founding of the People’s Republic of China.