Though He Has Brought The Artistic Achievements Of The Bird And Flower Painting

The representation method of Chinese flower-and-bird painting can be generally divided into three types: outlining,mogu(没骨)and xieyi(写意).The former two painting methods, which have also shown high artistic standard, have been established ever since Five Dynasties and Early Song. From Northern Song to Yuan Dynasty, the main representation of flower-and-bird painting, including flower-and-bird painting among literati paintings, came into being and developed basically on the basis of variation of the two painting methods. Literati flower-and-bird painting got preliminary development and gradually started to change from"painting on the shape"to"painting on the ideogram".Early in the Ming Dynasty, Guangdong Court Painters such as Linliang and Sunlong were specific and unique, but after the Mid-Ming, literati flower-and-bird painting by xieyi method became splendid and representatives such as Baiyang(Chen Daofu) and Qingteng(Xu Wei) appeared. However it seems that we neglect a study of such historical phenomenon : it is Shen Zhou (the Head of Wumen Sijia) that opened up the real literati flower-and-bird painting by ink xieyi method only in the period of the Mid-Ming Dynasty. He was not only a painter of landscape painting but also a painter of flower-and-bird painting. His landscape painting is more famous than his flower-and-bird painting, but this does not indicate that his achievement on flower-and-bird painting lower than that on landscape painting. By deep study and understanding of Shen Zhou's flower-and-bird painting, we can find that his achievement on flower-and-bird painting is a well-deservedly key hub of literati flower-and-bird painting's heredity.