The Application Of Ancient Chinese Architecture In Contemporary Flower-and-Bird Painting

With the development of China’s comprehensive strength and the improvement of its international status,the national government and the general public are paying more and more attention to the protection and revival of Chinese traditional culture.Only cultural self-confidence can truly enhance national confidence.Therefore,this requires contemporary artists to pay more attention to the promotion of traditional culture and actively display the cultural characteristics of the Chinese nation.The use of creative elements from Chinese classical architecture to the creation of contemporary flower and bird paintings has far-reaching significance in terms of subject matter,vision and connotation.It also reflects the spirit of the times and responds to the call of the nation.As a materialized form of Chinese spiritual civilization and a place of interaction with the day and night,Chinese classical architecture has gained a sense of flower and bird painting regardless of its aesthetic or cultural connotation.Through in-depth study of this issue,it can provide a new possibility for the theme innovation and connotation improvement of contemporary flower and bird painting,and to some extent make up for the lack or deficiency in the current theoretical research field,and also explore Chinese painting,especially contemporary flower and bird paintings.The development of the period has inspired.The first chapter of this paper summarizes the reasons,significance and research status of the research.Through the collation and induction of relevant theoretical works and literature materials in the past generations,the feasibility and necessity of this research are demonstrated.The second chapter of this paper discusses the cultural connotation of Chinese classical architecture.Including the influence of the social order view of Confucianism on the pursuit of the symmetrical aesthetics of classical architecture,and the resulting three classics and ethics in classical architecture construction regulations,and thecultural functions,which explain the Chinese culture contained in classical architecture..In addition,this chapter also expounds the aesthetic implication of classical architecture and extends it to its aesthetic commonality with flowers and birds paintings,paving the way for the subsequent chapters to discuss the value of architectural painting.The third chapter of this thesis demonstrates the value of classical architecture in the creation of contemporary flower and bird painting from three aspects: aesthetics,subject matter connotation and artistic conception.It belongs to the key chapter.First of all,in the aesthetics,this paper demonstrates that both classical architecture and flower and bird painting have commonality and complementarity by technology and connotation.Secondly,classical architecture can not only broaden the choice of subject matter of flower and bird painting,but also gain in the connotation expression.Classical architecture not only integrates ancient science and technology,but also is a typical representative symbol of Chinese civilization,reflecting the ancient cosmology and the concept of heaven and man.Flower and bird paintings have been in the past since ancient times,and the introduction of classical architectural symbols can add more convenience to this technique,enabling flower and bird painting creators to flexibly use flower and bird painting creation to relate to our history.In the third section of this chapter,the theory of artistic conception of flower and bird painting is explained,and the role of classical architecture in the artistic conception of flower and bird painting is emphasized.The spatial sense of architecture can enhance the physical form of flower and bird painting and create a more concrete atmosphere..The content of the fourth chapter of this thesis mainly discusses the application of Chinese classical architecture in the creation of contemporary flower and bird paintings from the perspective of creative practice.From the selection of image symbols to the expression of expressiveness,it lists the authors of a large number of contemporary artists.Argument on the possibility of applying the topic to practice.The fifth chapter of this thesis is the conclusion.Through the generalization and combing of the viewpoints of each part of this paper,the research results of this thesis are summarized.