The beauty of the artistic conception of Song paintings has never been seen before. Why do you say that?

The beauty of the artistic conception of Song paintings has never been seen before. Why do you say that? Because the artistic conception of Song paintings is very beautiful. Chinese painting does not completely imitate the cognitive system. Therefore, Chinese painting is very different from western painting which completely imitates nature. The painting in Song Dynasty inherited the breadth and depth of the painting in Tang Dynasty, and got comprehensive development in figure painting, landscape painting and flower-and-bird painting. Painting in Song Dynasty also developed ink painting, and gradually improved and established the system of freehand brushwork painting, which had a great influence on landscape painting, figure painting and flower-and-bird painting in Yuan Dynasty. In particular, the combination of painting and poetry has completely aroused the interest of literati. Song Dynasty painting has become a model for future generations to learn because of its rigorous structure, clear image, strong lyricism and beautiful poetry. Later, all painting styles and schools began with learning painting in the Song Dynasty.

In Hui Zong period, flower-and-bird painting ushered in a golden age of development. Hui Zong has profound artistic attainments in flower-and-bird painting, and is the second disciple of Cui Bai. Cai Yong wrote in Tiewei Mountain Lecture Series: "(Evonne) finally introduced Dan Qing to Wu, a knowledgeable guest. Yuan Yu studied painting Cui Bai, calligraphy Xue Ji, and young adults. " Deng Chun made the following comments on the achievements of Hui Zong's flower-and-bird painting: "(Hui Zong) The brushwork is natural, the figure is exquisite, and there are many shapes, and the six methods can also be obtained. He pays special attention to feathers and pays more attention to raw lacquer, which is slightly higher than paper elements and wants to move. " In Deng Chun's narration, Hui Zong noticed the shape and Buddhism.

As for Deng Chun's examples of "Peacocks must rise to the left first" and "Roses with oblique branches", it can well illustrate Huizong's concern about the similarity and legality of flower-and-bird paintings. Scholars in the middle and late Northern Song Dynasty, such as Wang Anshi, Shen Kuo, Su Shi, Chao Shuozhi, Zhang Shunmin, Cheng Ju and Dong Yu, praised their paintings and left a lot of paintings and poems. From the aesthetic concept of painting in the middle and late Northern Song Dynasty, we can also indirectly see the relationship between Hui Zong and the literati.