| After the independent division in the Tang Dynasty,the fine brushwork flower-and-bird painting reached a brilliant artistic height in the Northern Song Dynasties and Southern Song Dynasties with the development of Xu Xi and Huang Quan during Five Dynasties.With the rise of literati paintings with "ink and water is better" in the Yuan Dynasty,it began to suffer from cold reception and turn worldly.Until modern times,the depressed situation was swept away.The flower-bird paintings in modern and ancient times all pay attention to “ bone methods uses a pen “and “artistic conceptions& ink rhythm”.By contrast,the western paintings emphasized the visual effect & perspective shape.In the information-globalized days,there are constant collision and integration between Chinese and Western paintings.It was in this cultural environment that Su Baijun fused between Chinese and western,digging deep into tradition and innovating with ancient styles,picked and collected the contemporary aesthetic elements,pushed the painting to a new height and finally developed elegant and quiet artistic language style and artistic accomplishments.Thus he became the leading figure of contemporary brush flower-bird paintings.Through the combination of theory and practice,by reference to a large number of literatures and with many visits to domestic museums,art galleries and large-scale art exhibitions of Su Baijun,and even by an interview with Su Baijun on the content of this article,the author systematically analyzed the artistic languages of Su Baijun’s flower-bird paintings based on a large number of his works and monographs as well as the study of ancient paintings.In terms of the four stages of the rudiment,storage,growth and maturity,this paper carefully sorted out the formation and evolution process of the artistic languages,and then analyzed the painting features formed by the changes of his artistic languages and the aesthetic orientation.In addition,this thesis analyzed the innovative artistic languages from the horizontal perspective of color,light and shadow,and schema structure,and the vertical perspective of spatial layout,theme and painting techniques.It concludes that Su Baijun ’s paintings adhere to traditions with the basis of the times,keeps innovating and focuses on emotions and humanistic concern.Finally,it expounded the contemporary value of the ancient high innovative artistic languages and its influence on the Lingnan Painting School and the author.Su Baijun’s innovative language gives significance to the sustainable heritage and development of Chinese painting.Through in-depth analysis of its formation and evolution,characteristics,aesthetic orientation and development trend,I hope to enable more students to understand the artistic languages of flower-bird paintings,providing theoretical data for scholars who will study Su Baijun and contemporary flower-bird paintings.What’s more,I also hope to promote some inspirations for the fine brush flower-bird painters or the contemporary Lingnan flower-bird painters. |
