Nature And Literary Mind

As a literati painter living in the Song and Yuan dynasties in China,Qian Xuan’s creative practice largely reflects the historical evolution of Chinese classical painting from the Song to the Yuan dynasty.Qian Xuan’s paintings cover a wide range of subjects,with representative works in the fields of landscape,figures,and flowers and birds that have been passed down for generations,and he has developed his own unique style of flower and bird paintings.From the historical development of classical Chinese flower and bird painting,Qian Xuan’s flower and bird painting images clearly inherited the development and evolution of the Song Dynasty courtyard style painting to the Yuan Dynasty and later literati painting style,demonstrating the transformation of traditional flower and bird themed painting from objectively depicting nature to subjectively expressing nature,and the perspective of painting behind it.Therefore,Qian Xuan’s flower and bird painting images can be seen as a bridge connecting the academic and literati painting styles of the Song and Yuan dynasties.The value of his artistic research is not only reflected in the artist’s innovative style,but also in the historical context of classical flower and bird painting moving from "nature" to "literary mind" in the late Song and early Yuan dynasties.Throughout the art of flower and bird painting in the Song and Yuan dynasties in China,from the palace painting academy to the literati,painters have formed diverse forms of artistic expression in the process of imitating nature through painting,reflecting different ways of natural cognition and aesthetic perspectives.From the courtyard style flower and bird paintings dominated by the imperial painting academies in the Song and Yuan dynasties,to the integration and infiltration of courtyard style flower and bird paintings with literati flower and bird paintings in the late Song and early Yuan dynasties,and then to the literati flower and bird painting system in the Yuan dynasty and beyond,the representation of nature in painting and the intervention of poetic traditions have always been the main themes that cannot be avoided in the creation of flower and bird paintings.It is precisely under the painting themes of "nature" and "literary mind",The artistic history of Song and Yuan dynasty flower and bird paintings has emerged,which is both rich and diverse,and traceable.This article starts from the perspective of image verification history,and through the analysis of Qian Xuan,a typical painter and his works,further understands the new style of flower and bird painting established by him in the context of art history in the late Song and early Yuan dynasties.Using this as a bridge,it connects the image context and aesthetic direction of flower and bird painting art in the naturalistic painting expression and literary identity poetic tradition of the Song and Yuan dynasties.This is the main starting point of this article’s argument research.Discussing "nature" and "literary mind" from the perspective of painting is undoubtedly a grand theme,and the relationship between painting,nature,and literature is also a fundamental issue in the study of art both at home and abroad.When it comes to the subject of classical Chinese flower and bird painting,and then focuses on the highly developed and transformative Song and Yuan dynasties of flower and bird painting,this article takes the highly typical painter Qian Xuan and his works during this period as an example to further establish specific research objects and objectives,that is,to stand within the historical scope of the development of classical Chinese flower and bird painting,with Qian Xuan’s flower and bird painting images as the starting point,To sort out and integrate the flower and bird themed paintings and related images of the Song and Yuan dynasties in China,and further analyze the painting cognitive perspective and aesthetic spirit contained in the natural images of flower and bird paintings with diverse styles in the Song and Yuan dynasties,with Qian Xuan as the turning point,as well as the specific forms of image expression.The full text takes "nature" and "literary mind" as clues to explore Qian Xuan’s role as a bridge in Song and Yuan dynasty painting,the relevant background of pattern construction in his flower and bird themed works,and the specific expression of stylistic language.At the same time,it analyzes the influence of the creative context of flower and bird painting in the two Song dynasties and Qian Xuan’s literary identity on the Chinese academic expression of his flower and bird painting works,and thus extends the different natural patterns and creative consciousness of flower and bird painting in the Song and Yuan dynasties,Sorting out the different tendencies and related image structures presented in the two major elements of "nature" and "literary mind" in the Song Dynasty and Yuan Dynasty flower and bird paintings,with money selection as the turning point.In addition,this article also extends the issue of the "natural view" in understanding and expressing nature in classical Chinese flower and bird paintings from the themes of "nature" and "literary mind".This issue is manifested in specific research as the painter’s understanding of "nature" and "non nature" and their presentation in painting when creating natural themes.This is also reflected in typical flower and bird painting images from Qian Xuan and the Song and Yuan dynasties.This article further extends the different cognitive systems and aesthetic perspectives formed by flower and bird painting and its related natural theme creation in the process of understanding and expressing nature through research and analysis of related content.At the same time,it also analyzes the profound influence and value significance of Song and Yuan dynasty flower and bird painting represented by Qian Xuan on contemporary art creation based on contemporary flower and bird painting art and naturalistic painting.