Leaping With Joy-On Bird Painting In The Song Dynasty

Chinese bird-and-flower paintings were clearly defined into categories since Tang Dynasty,and then they were inherited in an orderly manner.During Song Dynasty,six categories of flower-and-bird paintings were further established,including flowers,birds,insects and fishes,animals,vegetables and fruits,utensils.Also,bird-and-flower painting involves mythological subjects such as dragon,phoenix and Chinese myth animals.As far as the expression of painting is concerned,there are mainly two forms in the Song Dynasty,one is still color painting,and the other is ink painting.From the perspective of painting technique style,Northern Song Dynasty mainly focused on the academy-style meticulous brushwork all the way.The main reason is that the five dynasties "riches and honour of Huang Quan " meticulous brushwork style has been better continued and developed,"uninhibited sense of Xu Xi" style was not yet favored by the ruling class and scholar-officials at that time.However,during the Southern Song Dynasty,this situation improved,and the painting style of "uninhibited sense of Xu Xi" gradually became popular and received attention,and was favored by more ruling classes and literati.Even in late Southern Song Dynasty,all kinds of contradictions intensified and the country gradually declined,but in the art of flower and bird painting,it still maintained a certain vitality from the previous generation.Paintings in Song Dynasties developed to a certain extent in terms of figures,landscapes,and flower and bird paintings,but in general,they tended to be more academic style.Flower-and-bird painting has gradually matured and reached a certain height in the expression skills of sketching.This thesis is divided into four chapters for exposition,and takes the initiation and establishment of the theme of bird sketching in Chinese bird-and-flower paintings as the auxiliary line,and the development and evolution as the main line,and discusses the aesthetic standards,technical style and law of bird and bird sketching in flower and bird painting.The content,based on the image schema and literature,combined with his own practical experience in bird sketching and creation,through the writing structure of chapters,sections,items and points,the discussion is focused on a step-by-step discussion.And in the discussion,I will explain and analyze my own painting ideas and academic viewpoints,and explain in detail,to be reasonable and objective.The first and second chapters focus on expounding the historical and cultural origins of bird sketching in Chinese bird-and-flower paintings;by discussing the establishment of bird and bird painting theme style,it extends to the cultural heritage of bird and bird painting in flower and bird painting and related aesthetic thoughts.The emergence of any artistic style is not for nothing,but has its inherent theoretical system as the foundation.It is said to be the leading role of the internal effect of a traditional culture and the external cause of the culture of the times.The formation and development of the themes of bird sketching in Chinese bird-and-flower paintings were undoubtedly directly or indirectly influenced by these two cultures.From the third chapter onwards,it focuses on the process of the shape characteristics of birds sketching in the Song Dynasty from the object to the creation of the environment,citing Cui Bai in the Northern Song Dynasty and Fa Chang in the Southern Song Dynasty.Through the discussion on the transformation of bird sketching from object shape to image shape,it extends to the role of bird sketching in the creation of the environment and the related aesthetic interest.In the fourth chapter,it mainly emphasizes how the method of theme of bird sketching in Chinese bird-and-flower paintings developed and evolved under the influence of "Neo-Confucianism",and takes Cui Bai and Fa Chang as examples to further explain the relationship and reasons.