The Research On The Application Of Flower-and-bird Painting’s Elements In Modern Figure Painting Of Freehand Brushwork

Since the foundation of PRC, figure painting of freehand brushwork in China is narrative-based and its theme is politics. Since the reform and opening up, Chinese art has stepped to a new historical stage. Composite pluralistic culture ecology makes it possible for the development of Chinese figure painting. The Chinese figure painting shows an unprecedentedly various multi-face. The theme of figure painting of freehand brushwork and its language use is relatively diverse and flexible: combining the theme with natural things. Ordinary people in daily life and natural scenery become the major objects in figure painting of freehand brushwork. Some painters like Zhou Chang Gu, Yang Chunhua, Wen Jiang, Fan Yang, Wang Yanping, etc. have been committed to the exploration of the combination of figure painting of freehand brushwork elements and flower-and-bird painting ones. It is significant for the innovation and development of modern figure painting of freehand brushwork to make this combination a theory through the creative practices. This is not only a breakthrough in understanding of the natural beauty but also a reflection of Chinese philosophy: retuning to nature. This thesis regards figure painting of freehand brushwork as the starting point, through analysis and discussion, summarizing artistic features like the use of techniques, theme performance and spatial processing. And thus, this thesis sums up that such figure painting has an influential impact on the creation of Chinese Painting in future. Through the analysis and illustration, the thesis is intended to provide reliable theoretical basis for the figure painting in future. The ultimate goal is to stimulate creative thinking so as to create more contemporary and outstanding works.Chapter one summarizes the history background and contributing factor of flower-and bird-painting’s elements in modern figure painting of freehand brushwork. Early figure painting appears in cliff painting and the figures in pictures show a certain degree of independent. Until to the period of Eastern Jin, the theme of Gu Kaizhi’s figure painting already show the standard style which is the figures combined with flowers and birds. The application of this painting reaches to peak in the late Ming Dynasty. A number of painters who combine the figures with flowers and birds emerge in modern time. So, flower-and bird-painting’s elements is applied in dynasties’ figure painting, except for the different subjects, performance techniques and spatial processing. The essence of this application embodies the idea of ancient Chinese philosophy of "the Harmony between Heaven and Man". The "speedy world" has brought radical and impulsive mood to people, therefore, the pursuit of the harmony idea perform by painters, and at the same times that is the diversified development trend for the flower-and bird-painting.Chapter two analyzes the application of flower-and bird-painting’s elements in modern figure painting of freehand brushwork from three aspects of techniques, the theme’s performance and spatial processing. The techniques’ application integrates or breaks "the form and spirit shaping" in figure painting’s shaping so that the pictures display vivid natural style. Zhou Changgu as one of the modern figure painters creates more works about this. Yang Chunhua and Yu Wenjiang are all good at this theme, and their woks express the well combination between the scenery and figures’ character as a result the works are full of idyllic tranquility and harmony. There are tow approaches which handle the space in flower-and bird-painting’s elements, i.e., figures as the subject which supplemented by flower and bird and the same proportion. And these two modes find a new and innovative language for handling the space in flower-and bird-painting’s elements.Chapter Three explores the influence of modern Chinese Painting by the application of flower-and-bird painting elements in figure paintings. And this is reflected in the diversified development of painting, which is more expressive and of special era characteristics. In order to make the idea into reality, this view is applied in the author’s own figure paintings, trying to find the suitable creative artistic language for her own. Innovation is not a simple change in the composition and drawing content, but the integration of characteristics of the painter’s emotion and era, which enables the painting modern.