"A Hundred Flowers" Painting Score Study

Yu Feian,Yu Zhizhen,and Tian Shiguang's "Hundred Flowers" map and the two Song Academy's Gongbi strokes have an inherent continuation relationship,and there is a breakthrough in their era.This article first clarifies the personal choices and growth in the Chinese painting debate under the background of the historical life of the three people.It also determines the technique and aesthetic interest of painting and birds-and-bird paintings focusing on learning Zhao Yu as a center of gravity for the Five Dynasties Song and Yuan;sec ondly,from composition,color,and The three aspects of the artistic conception of the paintings were used to compare and analyze the "Hundred Flowers" map with the images of the Ming and Qing meticulous flowers and birds albums and the song and flowers albums of the Song Dynasty courts.It was considered that the "Hundred Flowers" map was less affected by the Ming and Qing dynasties,the flower and bird albums.The song and the birds and flowers albums of the Song Dynasty courts have obvious continuation relations.The most important academic dilemma in the development of Chinese painting art in the past century is how to deal with the relationship between traditional heritage and contemporary innovation in the creation practice.The"Hundred Flowers" map created at the end of the 1950s constitutes a model for practice.Painters provide important references for personal exploration.In addition,in the art education of colleges and universities,this map erected a bridge leading to the album of flowers and birds of the Song Dynasty in the two Song Dynasty that led to the incompleteness of the screen and the lack of technical records.After this map,Yu Zhizhen and Tian Shiguang began to summarize the meticulous of the Flower-and-Bird painting's.The systematization of painting technique and teaching plan plays an important role in art education in colleges and universities.