| Traditional Chinese flower and bird painting has been influenced by Confucian,Dao,and Buddhist thoughts for thousands of years.It has always been an expression of “artistic conception” and “qi”.In the book “Ancient Painting Theory” by Xie Liang painter and theoretician in the Southern Dynasties,Xie He listed “Qiyun Vivid” as the first of “Six Laws”,which shows that the expression of breath and artistic conception is the weight of traditional Chinese paintings..As one of the main factors in painting,light has not been a special research topic in traditional Chinese painting.The "beauty" of traditional Chinese traditional paintings is more manifested in the expression of temperament and artistic conception,and it is also true in the field of flower and bird painting.With the in-depth development of the first industrial revolution,human society has entered a new stage of development,and cultural communion has become a development trend of society at that time.China's social ideology began to progress,and various new trends of thought emerged,specifically in the field of artistic thought.Western art forms of art began to enter China.The expression of the main sense of tourism in western paintings slowly blends in with the restrained light expression in Chinese traditional flower and bird paintings,gradually extending the language of flower and bird painting with Chinese rhythm.This paper mainly analyzes the light and shadow manifestations in Chinese flower and bird paintings,combing the history of light and shadow development of ancient Chinese flower and bird paintings and modern flower and bird paintings,and understanding the development and changes of light and shadow expression techniques in Chinese flower and bird paintings,applying these theoretical knowledge to their own Among the practical creations,he provided a new idea for his own creation of flowers and birds,and expounded the creative thinking,the creative process and the creative methods in his thesis. |
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