Spring Flower And-bird Painting Spirit Connotation Research

The bird and flower painting to become an independent subject in the Tang Dynastiesperiod, the initial emergence of bird and flower painting is realistic, write-shaped mainly the finebrushwork bird. With the deepening of development of the bird and flower painting, by therealism of the gradual transition to Freehand. Freehand bird gradually replaced by finebrushwork bird painting, mainstream, and ultimately the development of the the freehand bird ofthe Ming and Qing Dynasties. Yuan period, subject to the rule of the Mongolian Yuan Dynastyrulers continue to suppress the Central Plains Han, abolished the system of the Song Dynasty setup the Art Academy, makes a lot of people with lofty ideals become negative, escapism, andlived in mountain forests. The aesthetic ideas of this period people started to change, the themeof the academy of the Song Dynasty painting of rare birds and Rui birds no longer suitable forthe performance of their Masquerade negative psychological. However, the four gentlemenPaintings "Merlin, bamboo and chrysanthemum, a symbol of the spirit of lofty constancy ofpersonality began to emerge. Therefore, bird changed the Song Dynasty painting "deliberatelyseeking work, wonderful Colors" style, turn to express their inner feelings of pure Ink paintingstyle. Even so, but the bird and flower painting of this period is still a small freehand bird areas.Ming Dynasty, it was formally began large freehand bird, Xu Wei of the pioneers of largefreehand bird, representative works of Mexican grape Figure. Later after the Qing DynastyBadashanren modern Changshuo, Qi Baishi, Pan Tianshou further development of large freehandbird matures. Therefore, it can be said that the freehand bird and the Spirit began in the YuanDynasty, the penetration in the Ming Dynasty, was formed in the late Ming and early Qingperiod.The freehand bird formation and development is not accidental, and its development of thehand there is the unique spiritual and cultural connotations. First of all, it is bound by theConfucianism, Taoism, Buddhism and the traditional "three, there is a certain philosophy andcultural foundation. In addition, the rise and development of literati painting is freehand bird, animportant aspect of Wang Wei, Su Shi’s idea of a "scholar painting to promote the developmentof literati painting, literati painting of the development to promote the development of thetraditional bird and flower painting. As early as the Tang Dynasty period, there have beenpunished less pen freehand bird works, we can say the development of large freehand birdprototype stage, but just a flash in the pan, and did not get the inheritance and development offuture generations. The Ming Dynasty, due to the "heart" and Dong Qichang "Zen picturesque" thought, the early Ming Dynasty began to focus on the work of the ink culture and the arts, suchas Shen Zhou, Lin Liang’s bird and flower painting works. To the late Ming Dynasty, onlyofficially works of Xu Wei as the representative of a large freehand bird. After the formation ofthe impressionistic style, and later by the monument school, epigraphy, and the impact of thecapitalist commodity economy, style is constantly evolving, and ultimately the formation of awidely appealing style.Shi Tao said:"pen and ink with the times." A good work should be able to reflect thecharacteristics of the times. EraThe continuous development of the painting should also be innovative. Therefore, weshould not only inherit the fine cultural traditions of the traditional freehand bird, should also bethe continuous development of innovative, so that it can reflect the characteristics of the presentera, to meet the aesthetic needs of today’s people. But the important point is: we can not becausein the era of Chinese and Western cultures can not distinguish primary and secondary, in order todiscard the traditional Chinese culture, discarding a large freehand bird spirit.