A Study On The Creative Language Of Mogu Flower And Bird Handroll

Chinese painting has a variety of shapes and forms,and the number of paintings is large and the types are varied.Hand-rolled paintings are no exception.The number of flower and bird handrolls also accounts for the majority of hand-roll works.This paper mainly studies and analyzes the boneless flower-and-bird scroll in flower-and-bird painting.This paper combs the connection between the early boneless flower-and-bird painting scrolls,and analyzes the evolution and inheritance of the boneless flower-and-bird painting scrolls in Ming and Qing dynasties.The boneless flower and bird handrolls were mainly developed and flourished in the Qing Dynasty.The boneless flower and bird paintings headed by Yun Shouping were deeply loved by people at that time and had a wide influence.Because of this,many Qing Dynasty painters created many long rolls of flowers and birds without bones.As a kind of special form of works,handrolls without bones are different from other forms of paintings in the composition and form of the content often expressed in the works.The boneless flower and bird hand roll also has its own characteristics in the creation language such as color setting style and artistic modeling.As far as the style is concerned,the style of flower and bird scroll without bones is divided into two schools like flower and bird painting without bones: there are literati painting style with color and straight brush and neat and gorgeous court painting style,which have their own characteristics.This paper focuses on the composition,expression form,color style and artistic modeling of the boneless flower and bird scroll,mainly interprets the creation language of the boneless flower and bird scroll,and explores its artistic characteristics.