The Appliance And Research Of The Flower-bird Graphic Representation Of Guangxi Folk Painting In The Contemporary Flower-bird Painting Creation

With society developing so fast nowadays Chinese and western cultures are greatly mixing with each other, and Chinese art groups are constantly absorbing and learning the essence of the western art. Amid such a globalized and diversified artistic surrounding, Chinese contemporary art works of flower and bird should meanwhile be aware of the Chinese folk custom culture and its plain and various artistic forms when they are absorbing abroad artistic forms. Guangxi is located in the south of China, and because of its special geographical location and unusual cultural environment, it is born with plentiful folk painting materials. Because of the various nation customs of different groups, there are many kinds of folk painting forms containing plentiful beauty connotation. Brocade, embroidery, printing and dyeing, sculpture, paper-cut, silver ornament and masks all have their own gorgeous artistic patterns. The graphical representation of flower and bird is widely used, and its unique model, gorgeous color and its varied structure can provide luxuriant materials for the other contemporary art creation.Through the analysis and research to the graphical representation of folk painting in Guangxi, and artfully mixed with the self-creation about flower and bird painting of the author, the text focused on the discussion that whether the graphical representation of flower and bird from folk painting in Guangxi could be used in the creation on the contemporary painting of flower and bird, how it is properly used,what forms we should take and what effect it has on the contemporary art creation of flower and bird. It is also an approach to pass on and develop national folk painting to search for the subtle integrating point of contemporary flower-bird creation and the flower-bird graphic representation in folk painting, and greatly enrich the painting language in contemporary flower-bird creation.The text consists of four parts, the first one of which is to describe and classify the folk painting types and the flower-bird graphic representation in folk painting.It introduces the special use of flower-bird modeling elements of folk painting in Guangxi. The second part of them is aimed at describing the features of the flower-bird graphic representation in the folk painting of Guangxi, individually analysing them on the inheritance, intention and ornamental. The third chapter is the main part of the text, manly discussing whether the flower-bird graphic representation of folk painting in Guangxi is properly used in the contemporary flower-bird creation, and the integration of the flower-bird graphic representation with the contemporary flower-bird creation, mixed with the serial creation of the author himself. He finishes the exploration into the applied practices in several aspects such as color, composition of a picture, deconstruction, reconstitution and directly appliance. The fourth part analyses the meaning of the graphic representation melted into the contemporary flower-bird creation.It brings us a kind of sight feeling of individual feature if the elements of the ethnic folk painting is applied to the contemporary painting creation. Meanwhile, based on the tradition and absorbing foreign culture, the contemporary flower-bird painting creation melt with the native folk art painting, and take in the helpful elements belonging to the native art painting by researching and mirroring its color, model,and the composition of a picture, which will be more beneficial to the pluralistic development of contemporary flower-bird painting creation.