Kirin's paintings are both concise and handsome.

Kirin is simple and handsome as follows:

1, draw the unicorn head first.

2. Draw the forelimbs of Kirin again.

3. Now draw the tail and body of Kirin.

4. Finally, draw the edge with a black pen and color it.

Kirin has a close relationship with Confucian culture and is endowed with the political imagination of a wise man and a saint. From Lin's toe angle with local characteristics to Lin's kind and dynamic unicorn, it has become the head of ancient beasts and the top of good luck. The image of Kirin has become a microcosm of the evolution of unicorn image from the unity of form and spirit in Han and Tang Dynasties to the "dragon shape" and majestic posture in Ming and Qing Dynasties.

Kirin culture and the strategic thought of the peaceful rise of the Chinese nation come down in one continuous line. Kirin is an auspicious and harmonious messenger of the Chinese nation, so it is of great practical significance to study Kirin culture. Kirin culture occupies an important position in Confucianism, which places the Confucian idea of being kind and tolerant to others on Kirin.

Folk cultural relics:

Kirin, as a mascot, was often used in the political affairs of ancient dynasties in China. Historically, Emperor Wu of the Han Dynasty built a Kirin Pavilion in Weiyang Palace and painted a heroic image. Kirin is also widely used in official uniforms. In the Qing Dynasty, the boudoir emblem of Yipin Guan was decorated with Kirin. In the Qing dynasty, only the royal family and relatives were qualified to wear the dragon symbol. The emperor is Huanglong and Zilong, while the prince, elder brother, Baylor and Beizi are dragons.

Many palaces and temples in the past dynasties decorated Kirin with dragons and phoenixes, such as Yongning Mausoleum in Chen Wendi in the Southern Dynasties, Zhu Yuanzhang Mausoleum in Ming Taizu and Judy Changling Mausoleum in Beijing. Many imperial tombs have the artistic image of Kirin.