| This paper studies mainly about "Vase, Flower" series by Mingxiao LIU. Among the published albums of paintings in2004, he named this series "Flowers are not flowers". The works of "Vase, Flower" series are subtle and fresh, the colors are simple and bright, and it gives the impression fullness and smoothness. It attempts to expand contemporary paintings, which blends western styles into eastern culture. It shows strong artistic characteristics and it has won recognition and attention in the art circles.Mingxiao LIU started working on the "Vase and Flower" series works from the early90s, he aimed to breakthrough the traditional Chinese flower-bird paintings, and thought whether he can let the flower-bird works express magnificence and eternity like Chinese landscape and figure paintings do. He tries to find his unique artistic language; after massive researches and practices, he found his own interpretation of Chinese flower-bird works. In his works, not only you can find the traditional sentiment, but he also uses this symmetric mode of composition in his works. The outcome is it gives the impression of eternity by drawing just few simple objects; the rather monochromatic image expresses untold words. This interests me into studying the contemporary expansion of Chinese paintings and how the Western and Eastern pictorial skills can blend together. I take Mingxiao LIU’s "Vase, Flower" series works as a point of penetration, to study the innovation and manifestation of Chinese flower-bird works.This thesis is divided into three parts.This first part talks about Mingxiao LIU’s artist experience, where the idea of "Vase, Flower" series came from, how the style and character was decided. The second part specifically analyzes the "Vase, Flower" series works from various artistic languages. The third part talks about the contemporary significance of Mingxiao LIU’s "Vase, Flower" series works and its contribution to contemporary practice of Chinese flower-bird paintings. |
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