Constructing The Form With The Spirit ——Analysis Of The View Of Spirit And Form In Flower-and-bird Painting

The understanding of the relationship between spirit and form in the Chinese painting history has experienced a gradual evolution process from the "concept of painting form" to the "showing the spirit through depicting the form" and then to the "constructing the form with the spirit".The concept of "constructing the form with the spirit" advocates that"spirit" dominates "form" and emphasizes the leading role of the painter’s main spirit.The view of spirit and form sprouted in the Wei and Jin Dynasties to the Sui and Tang Dynasties,and established in the Song Dynasty.Through the heyday of the Yuan Dynasty and the continuation of the Ming and Qing Dynasties till now,the view has been continuously enriched and developed in thousand of years.In the field of flower-and-bird painting,the divine form view of"constructing the form with the spirit" requires flower-and-bird painting not only "know the name of husband,bird,beast and wood",but also "seize the nature and move the spiritual reverie’ The intention of the flower-and-bird painting is often related to human affairs.The creation of flower-and-bird painting should express the author’s internal thought and pursuit.This article analyzes the relationship between "spirit" and "form"in the flower-and-bird paintings of different historical period and cultural background by combing the view of spirit and form.And through discussing the changes of "view of QiYun" in the Tang Dynasty,the emergence of "Xu Xiye Yi" style in the Five Dynasties,the formation of literati paintings in the Song Dynasty and the prosperity of "ink flowers and ink birds" in the Yuan Dynasty to prove that the view of spirit and form has a far-reaching impact on the creation of flower-and-bird painting.The influence of the concept of spirit and form on Western modernist painting and contemporary painting shows it still exudes vitality today.Implementing the view of spirit and form of "constructing the form with the spirit" is very necessary to improve the literariness and ideology of current paintings.