Research On The Contemporary Flower And Bird Painting In Heilongjiang Province

Heilongjiang contemporary flower and bird painting is formed under the macro background of art culture reform and transformation in the new era,and as a branch of a traditional category,it is facing a new subject of the transformation from tradition to contemporary in the process of entering the contemporary era.This process has experienced the change of volatility under the overall framework of the construction of the times and cultural demand.Especially from the early days of the founding of the people’s Republic of China to the special historical period of the Cultural Revolution,the contemporary flower and bird painting experience was negated,criticized and tried to transform in many ways,which can be described as the most tortuous situation and experience in the field of art in the same period.In this process,in the territory of Chinese flower and bird painting,Heilongjiang flower and bird painting showed the common development trend of the times,and gradually integrated into the independent ideology under the emphasis of regional construction at the same time.Heilongjiang flower and bird painting is in the development of the core area of non-mainstream culture,and lacks the traditional reference and reference basis.in order to meet the needs of geomorphology and human environment in the north,it extends the suitable and independent painting techniques and styles.It presents the "changing path" in the development pattern of Chinese flower and bird painting.It can be said that the development of contemporary flower and bird painting in Heilongjiang is not an isolated art and cultural phenomenon,it is the comprehensive result of cultural policy,subject matter choice,style orientation,spiritual exploration,creative individual and group choice.This result reflects the changes of times,consciousness and social culture.The particularity of its development not only has the special historical value of the study of cultural change,but also has the typical value and geographical cultural value of the study of painting style.Based on the analysis of a large number of detailed historical data and image data,this paper makes a phased study to excavate and present the cultural achievements formed under different objectives in each period.This paper reveals the development state and concrete choice of Heilongjiang flower and bird painting,and forms the overall description of the contemporary development and characteristics of Heilongjiang flower and bird painting.The framework of the article consists of four parts.The first part is the introduction,which clarifies the source and significance of the topic selection.This part truthfully combs the development of Heilongjiang contemporary flower and bird painting,explains the stage achievements of Heilongjiang contemporary flower and bird painting,and reveals the formation of regional characteristics of Heilongjiang flower and bird painting.The main structure of the article is the research method of fusion between the use of relevant literary and historical materials and image science.The second part is composed of the second chapter,the third chapter,the fourth chapter,and the fifth chapter,taking the recovery time of modern Heilongjiang flower and bird painting as the clue,respectively exploring the four periods since the founding of the people’s Republic of China,the existence of Heilongjiang contemporary flower and bird painting in the reform of contemporary society and culture.Among them,the second chapter mainly focuses on the living environment of Heilongjiang flower and bird painting in the early days of the people’s Republic of China,as well as the regional characteristics of Heilongjiang contemporary flower and bird painting at this time.The third chapter focuses on the continuation of Heilongjiang contemporary flower and bird painting in social politics and cultural environment and the adaptive transformation mode of its formation during the period from the large-scale development of the political movement in 1963 to the ten-year cultural revolution.The fourth chapter studies the development of Heilongjiang contemporary flower and bird painting from the reform and opening up to the end of the 20 th century.Taking ten years as a stage,this part investigates the changing trend of flower and bird painting.In the open field of view,Heilongjiang flower and bird painting made an innovative attempt and presented a new artistic appearance in the process of contemporary transformation.The fifth chapter pays attention to the group regional characteristics of Heilongjiang flower and bird painting since the new century,takes freehand flower and bird and meticulous flower and bird as the main research objects,and establishes the regional style through the creation of painters.The third part is the sixth chapter.This paper systematically combs the contemporary development context and characteristics of Heilongjiang flower and bird painting,and restores the social,historical and cultural context of the development of Heilongjiang contemporary flower and bird painting.From the point of view of creation theme and stage choice in each period,this paper explains the development track of Heilongjiang contemporary flower and bird painting different from Chinese contemporary flower and bird painting.And from the freehand brushwork flower and bird painting and meticulous flower and bird painting two angles to explore the specific state of the development of different forms of flower and bird painting in each period.This part systematically describes the formation process of the regional characteristics of Heilongjiang contemporary flower and bird painting and the specific patterns of its development in each period.The fourth part is the conclusion.On the one hand,from the traditional context,academic construction,regional development direction and expression of Heilongjiang contemporary flower and bird painting,the internal value and aesthetic value of the development process of Heilongjiang flower and bird painting are established.On the other hand,through combing and systematically explaining the development system of Heilongjiang contemporary flower and bird painting,it complements the neglect of Heilongjiang painting achievements in the historical study of Chinese flower and bird painting.This paper discusses the generation and practical significance of flower and bird painting style with the aesthetic characteristics of desolation and cold in the north.This paper does not describe the contemporary flower and bird painting in Heilongjiang Province,but focuses on the trajectory of development,and considers the source and relevance of the special choice made by Heilongjiang in the face of the common problems of the transformation of subject matter and mode of expression.This paper probes into the expansion and transformation of flower and bird painting language in the practice of ecological landscape in alpine region,establishes the expression characteristics of regional humanistic spirit,and reveals its independent aesthetic characteristics and regional expression style.It is hoped that the relevant research viewpoints and achievements of this paper will arouse the researchers in the same field to pay attention to and continue to study the historical value and regional value of Heilongjiang.