On the color implication of Yu Feian's meticulous flower-and-bird painting

Color is one of the main formal elements of meticulous flower-and-bird painting and an important language of artistic expression. Yu Feian's meticulous flower-and-bird painting, named after the forties and fifties of last century, is an organic integration of socialist revolution, national style and traditional characteristics before and after the founding of the People's Republic of China. He is one of the most successful examples of China's meticulous flower-and-bird painting, which opens up a new realm and forms. A flower, a leaf, a grass and a tree in Yu Feian's works are all powerful responses to the social phenomenon and national style at that time, and the expression of color is the remarkable feature of his paintings. In this paper, the "color implication" of Yu Feian's meticulous flower-and-bird painting is taken as the research object, and the source of its "color implication", the expression style of color and the contemporary influence of Yu Feian's meticulous flower-and-bird painting are comprehensively combed and studied by using the method of case analysis and comparison, in order to have a deeper understanding of the "color implication" of Yu Feian's meticulous flower-and-bird painting.

Keywords: traditional characteristics of meticulous flower-and-bird painting color implication

foreword

Painting is an organic form of expression composed of various elements, which is produced through the interaction of elements such as color, line and light color, and is the sum of various visual factors in painting art. Among the painting languages such as color, line and light color, color is the most powerful expression in meticulous flower-and-bird painting, which always keeps pace with the times, shows the wisdom, spirituality and interest of the artist, and is also the outstanding expression of the author's aesthetic feelings. In modern times, with the expansion of human spiritual field and the formation of cultural diversity, the imagination and creativity of artists have developed unprecedentedly, and the color of meticulous flower-and-bird painting has also developed by leaps and bounds. Color is an important language of meticulous painting, which has relatively independent aesthetic value. Especially "color implication", which determines the content and form of meticulous painting. "Implication" refers to the inner meaning, meaning or implication in works of art, and the implication of works of art refers to the profound philosophy of life, poetry or spiritual connotation contained in works of art [1]. As an indispensable factor in meticulous flower-and-bird painting, color implication supports the development of meticulous flower-and-bird painting and maintains its lasting vitality. But in modern times, there was a famous meticulous flower-and-bird painting master-Yu Feian, who had a historical position in the history of meticulous flower-and-bird painting in China. Seeing his works first gives people gorgeous colors. His meticulous flower-and-bird paintings are bright and elegant, unlike their predecessors, but more attractive and attractive. All these reflect Yu Feian's profound tradition and exquisite skills, and also his rigorous attitude towards artistic creation. The bright, ancient, bright and dazzling colors in his works reflect his personality and aesthetic attitude. His brave practice on the artistic road has given meticulous flower-and-bird painting a new look and connotation. Therefore, this paper will focus on color research, deeply understand the color of Yu Feian's meticulous flower-and-bird paintings, and analyze the modern spiritual connotation contained in his works, so as to improve his artistic aesthetic ability and enrich his painting language.

First, the origin of "color implication"

1. Yu Feian's persistence and watch over the spirit of traditional meticulous flower-and-bird painting.

Looking back at the history of the Republic of China and the early liberation, the west wind spread eastward in the late Qing Dynasty, and western powers opened the door to China with opium. With the introduction of concepts such as science, democracy and freedom, western painting forms have also influenced the vision of China painters and strongly changed their deep-rooted painting ideas. During the Republic of China, faced with the attack of western powers, China painters also showed two different tendencies: some painters boldly improved Chinese painting and introduced western painting styles and expression methods. The other is a painter like Yu Feian who sticks to the tradition and constantly digs the essence and artistic spirit of ancient China painting. The former is the pioneer of modern painting style, and the latter will inherit the original tradition and transition from the old era to the new era. For example, they have firm cultural self-confidence and resist the invasion of western foreign cultures. As a representative of the "traditional school" in Beiping during the Republic of China, Yu Feian was able to withstand loneliness and pressure and inherited the characteristics of meticulous flower-and-bird painting in the Song Dynasty wholeheartedly. Painting pays attention to innovation and realism. Yu Feian not only digs the essence of painting, but also closely links life, folk, nature and tradition to seek creative inspiration. Therefore, there is no doubt that he did maintain the spirit of sticking to tradition.

Yu Feian began to learn meticulous flower-and-bird painting at the age of 46. He started late, but achieved a lot, which can be said to be a late bloomer. By the 1940s, his fame was comparable to that of Zhang Daqian. He studied meticulous flower-and-bird painting, starting from Chen Hongshou in Qing Dynasty, and then studying flower-and-bird painting in Song and Yuan Dynasties, which can reproduce the instantaneous dynamics of every grass and tree and vividly express objective things. Painting is unconventional, dare to innovate and break through, and paint orchids, bamboos and daffodils vividly, beautifully elegant and quiet. The peony he wrote, the flowers in spring, the leaves in summer and the dead leaves in autumn can be combined into one branch. His artistic style is rigorous, and he always learns to copy and absorb many techniques through ancient paintings for a long time, until he masters its traditional essence, broadens his horizons and improves his painting skills.

2. Yu Feian's profound literary accomplishment.

"Literati literacy" refers to the research ability, knowledge level and people-oriented spirit of humanities, and it is also an innate quality of human beings. [2]

Yu Feian's meticulous flower-and-bird painting was born in 1930s, when China was in the period of new democracy, social unrest, serious contradictions at home and abroad, and China was in crisis. Yu Feian sketched out the "blueprint" of the motherland's bright tomorrow in the form of painting. In his works, we can see a vibrant and warm atmosphere, which is a description of the future state of the motherland and new China, and represents a specific quality. His works shine with the immortal brilliance of national character ... I think it is precisely because of this that a nation can rise and move towards a better tomorrow. Appreciating Yu Feian's meticulous flower-and-bird paintings, starting from the background of the times, we can truly appreciate the true connotation of the works.

In Yu Feian's meticulous flower-and-bird paintings, it is not difficult to see the outstanding performance of the above colors, such as dove of peace, magnolia and oriole. Both of these two works show a peaceful scene with blue as the background, pigeons as the main performance object, and doves with auspicious clouds as the background. The whole picture is bright in tone and novel in composition. "Magnolia oriole map" also takes blue as the background, depicting two orioles, one perched on a magnolia branch and the other flying. They look at each other, and the whole picture shows deep humanistic feelings, which is meaningful and makes people never tire of watching it.

Yu Feian's meticulous flower-and-bird painting inherits the tradition and learns from nature. It is inevitable that his works have the characteristics of institutional painting, but they do not lose their natural charm. Looking at his works, the colors are often approachable and bright. For example, the work "The Pomfret Map in Mubi Mountain" shows that twigs and trunks are not only interspersed and avoided in an orderly way, but also have a clear relationship between primary and secondary, and their expressions are more vivid and natural. The lines in the work are cadence, the brushwork is steady and firm, the detailed rubbings make the branches have a strong three-dimensional sense, and with the pale ochre rendering, the whole work is elegant and charming, which has a charm of western painting. The blooming flowers are delicate and light, giving people a sense of tranquility, dignity, beauty, peace and tranquility. Layers of blooming petals are full and moist, which makes people feel relaxed and happy. His works also have eye-catching and dazzling visual effects, and use a lot of tones to achieve the purpose of color expression, which not only enriches the readability and interest of the color content of the picture, but also releases more positive psychological energy to the viewer.

?

His meticulous flower-and-bird painting not only won Li's brushwork, but also embodied Chen Hongshou's ancient wit. In his work "Camellia Turtledove", the turtledove feathers in the painting are bright and shiny. They looked at each other, looked up slightly, very naive and interesting, with strong connotation, red flowers and green leaves withered branches. His works are still full of the flavor of the times. After the 1950s, with the change of social environment, his works also improved. He once said, "Flower-and-bird painting should be full of vigor and vitality, which will make people feel immersive, such as enjoying flowers, insects and birds, eliminating the fatigue of a day and making life happier" [3]. This fully shows Yu Feian's truth-seeking attitude towards art and his love for life.

In Yu Feian's meticulous flower-and-bird paintings, Song people's lofty charm, meticulous brushwork and gorgeous colors do not conflict, and they will not be "vulgar" because of "gorgeous", which is enough to show that this painting master is brilliant, gorgeous colors and lofty meaning run through the whole of his works, which is the extraordinary part of his works. [4]

Second, the expression style of color in Yu Feian's meticulous flower-and-bird painting.

Figure painting represents line beauty, landscape painting represents ink beauty, and flower-and-bird painting represents color beauty. [5] As one of the most important formal elements in meticulous flower-and-bird painting, color is an indispensable painting language in meticulous flower-and-bird painting. Yu Feian's meticulous flower-and-bird painting is colorful, ambitious, rigorous and delicate, which greatly expands the scope of aesthetic subject, expresses the author's thoughts and feelings, and embodies the spirit of the times. In Yu Feian's meticulous flower-and-bird paintings, colors are harmonious, rich, bright and sublime. Every time I appreciate his works, he always gives people positive energy. He is realistic in art, but he does not stick to the rules. With the development of the times, his artistic style also keeps pace with the times. Yu Feian's bold practice and exploration on the color of meticulous flower-and-bird painting made the style of meticulous flower-and-bird painting tend to be diversified and promoted the development of meticulous flower-and-bird painting color.

(A) the beauty of Yin and Yang-the performance of contrasting colors

Yu Feian's meticulous flower-and-bird painting takes brushwork as the bone and color as the muscle, and forms a style that focuses on shade and solemnity, supplemented by various harmonies. Therefore, he is far away from the elegant ink painting of literati and has a sense of the times and popularity, and has become a typical meticulous painter in modern China. He is proficient in the use of contrasting colors and similar colors, and can be called a color master. [6]

Goethe once said that "contrast determines the aesthetic utility of color", which shows that the law of contrast is one of the most important color laws. Yu Feian's meticulous flower-and-bird painting can be divided into big contrast and small contrast, strong contrast and weak contrast. Large contrast means that the overall tone is close to the contrast of complementary color relationship. For example, the contrast between red flowers and green leaves, and the contrast between azurite and yellow and red are all characteristics of large color gamut and pure hue. However, in order to achieve a bright and steady artistic effect, painters often weaken the hue of a color, such as painting leaves with ink to make them look dark green and safflower more bright and bright; Or widen the gap in the area of contrast color, for example, the red and yellow areas of ribbons and orioles are much smaller than those of the sky and trees, thus avoiding the change of purity or area equivalence. In addition, the shapes of contrast colors are different, and the gray of the flower branches is used as a transition, which means that there are non-contrast factors in the great contrast and the so-called composition consciousness, which strengthens the theme and inner beauty.

Small contrast, that is, local contrast, in the harmonious overall tone, individual details use contrasting colors, such as green leaves lining Bai Lianhua and a red dragonfly falling on the leaves. Large contrast with small contrast, or weak contrast and similar colors, is enough to see the painter's meticulous intentions, and then add meaning beyond painting. ?

Decorative paintings generally use strong contrast. Weak contrast is the contrast of neutral colors. For example, in the picture of Dan persimmon, the persimmon is orange yellow, the front of the leaves is dark green, and the back is ochre, which makes the contrast effect close to black and yellow by the neutrality of ink. Weak contrast tends to be elegant, which is related to the artistic conception of the theme, so the contrast between neutral colors such as black and white and other colors makes the whole tone look both generalized and harmonious.

2. The beauty of style-the expression of image color

(1) Cultural Connotation of Image Color

"Yi" is an internal abstract thinking, which generally represents all subjective components such as subjective judgments and ideas of the subject or artist. In China's traditional concept, "Yi" is mainly a kind of cultural connotation, such as Confucian personality ideal, Taoist and Zen behavior and life realm. "Image" is an external concrete thing, which exists objectively, such as rocks, figures, flowers and birds. "Image" is an objective image to express meaning and subjective feelings. The appearance and environment in real life are very different, but they are also interrelated. [7] A beautiful and lasting meticulous flower-and-bird painting must be studied in the image collocation of color, so as to achieve the beauty of the style of the picture. The elegance and vulgarity of meticulous flower-and-bird painting are reflected in whether the color is "image" and the feeling and scrutiny of the color.

(2) the characteristics of image color

Image color is a localized color language, which emphasizes subjective consciousness, pursues inner feelings and shapes colors with oriental implications. It is through the subjective consciousness of the subject's cognition, judgment and concept that the color of the object is enhanced in order to pursue individuality and creative spirit. Yu Feian's meticulous flower-and-bird painting is characterized by image color, which embodies the author's lofty artistic purport.

(3) the expression of image color in the works

Yu Feian wrote an inscription in "Dugaozhi": "Meaning does not seek color, and its predecessor is like Jiugong Gema. This not only embodies the theme of bamboo, but also expresses his unique views on the meaning of color setting, the meaning in color and the meaning outside color. [8] Yu Feian's inscription is a sublimation of previous meticulous flower-and-bird painting "Color with Class".

The pursuit of literati painting is intended to be like the outside. By imitating the pen and ink of the ancients, or expressing emotions with pen and ink of personal style, painters emphasize the use of pen and ink, but weaken the use of color, pay more attention to the abstract expression of color without being bound by the original color of objects, break the previous saying that "colors follow the class" and enhance the subjectivity of the author. "The color is taken from the new, and sometimes it should be different from the real thing according to the needs". [9]

In the process of Yu Feian's meticulous flower-and-bird painting, the application of image color is actually a kind of "design", which is to subjectively and consciously control the color of the picture, such as cool color, warm color and neutral color, so that the color of the picture can achieve its creative purpose according to the creator's intention. For example, when a painter creates a work, if it is fixed as a warm tone, in order to realize the overall warm tone of the picture, the painter will weaken the color of the cold elements in the picture and make it tend to be cold. The process from color selection to color layout, contrast, exaggeration and pen use is the expression of the painter's psychological feelings and aesthetic feelings.

Through the in-depth experience of life, such as raising flowers, birds, fish and insects, Yu Feian realized the spiritual temperament of objects and the emotional combination of objects, subjectively chose colors, and combined colors with pens to create the artistic conception of the picture. So watching his works always gives people an immersive feeling. In meticulous flower-and-bird painting, Yu Feian expresses his feelings and shows his personal style with the interest of color. Such works are always memorable. The composition of the work Autumn Singing Birds is based on the diagonal rule. The author didn't spend too much pen and ink, but painted the phoenix tree in a very light color, depicting two birds standing on the branches, which was enough to show the autumn scenery. The author uses image color expression in his works, which makes them concise and meaningful.

3. Dazzling-the expression of decorative colors

(1) Characteristics of Decorative Colors

In terms of aesthetic concept, the color of painting is not to restore the color of natural objects in real things, nor is it a means to shape objects, but to meet the needs of people's aesthetic requirements and to better reflect the artistic feelings and artistic conception of creation. The color of object modeling in meticulous flower-and-bird painting can be modified according to the needs of composition. The biggest feature of decorative color is that it can change color at will on the plane and subjectively. The intensity of decorative color depends on the plane features and ancillary structures and the intensity of decoration, such as the intensity of order and regular shape. The more orderly, regular and flat, the stronger the sense of decorative color will be, and vice versa. In Yu Feian's works, decorative colors can be seen everywhere. Every time I look at his works, my vision is suddenly enlightened and I enter a new realm.

(2) The performance of decorative colors in works.

Hao Jing's Picturesque in the Five Dynasties has "Red leaves are yellow and autumn leaves fall; Red and green, with clusters of flowers; It is better to die than to be black and blue; The powder cage is yellow and wins its glory. " [10] Hao Jing's statement profoundly revealed the rules of color matching and decoration.

In decorative meticulous flower-and-bird painting, although the realistic space-time structure has been subverted, the mood and implication in the works are unified, and they form another structure, which makes the picture display broader.

Visible and invisible aesthetic images enrich the painting language of meticulous flower-and-bird painting. [1 1] In the concept of color aesthetics in China, the color of painting is not to express the vivid color of natural objects, nor is it an important means to shape objects, but mainly to create artistic conception and emotional needs of the picture and serve the picture effect. You can change the color of the object according to the needs of painting.

Yu Feian's meticulous flower-and-bird painting style has broken the previous limitations-attaching color to categories and paying more attention to subjective expression. For example, in the work "Map of Magnolia and Orioles", the bright colors in the picture are eye-catching, the magnolia on the blue background is hidden and moist, the color of orioles is more glamorous, and the background of the picture is a blue flat plate. The treatment of this hue can not only show Yu Feian's profound study of traditional painting, but also reflect his reasonable reference to western painting techniques and concepts. Although the color of Magnolia and Orioles is gorgeous, it is extraordinarily beautiful and calm. The author creates decorative interest and gives people an elegant style, which is enough to show Yu Feian's profound and skillful painting skills.

? Thirdly, Yu Feian's flower-and-bird painting has played an important role in the development of contemporary meticulous painting.

The characteristics of Yu Feian's meticulous flower-and-bird painting have played a connecting role in the development of contemporary meticulous flower-and-bird painting. He inherited the essence of meticulous flower-and-bird painting in Song Dynasty, further revived the tradition of meticulous flower-and-bird painting, explored the expressive techniques of meticulous flower-and-bird painting, summarized the experience of ancient painting, and made outstanding contributions to the application of meticulous flower-and-bird painting colors.

1. Its creative style is instructive and referential to the study of meticulous flower-and-bird painting.

In the study of flower-and-bird painting, Yu Feian has always emphasized the importance of sketching and insisted that life is the source of artistic creation. He believes that for the creation of flower-and-bird paintings, we should go out more, get close to nature, get a deeper understanding of life, find creative inspiration in life, and then record the beautiful things found in life as creative materials. By planting flowers, raising birds, fish and insects, Yu Feian can observe objective things with life, which is also beneficial for the author to deeply grasp the living habits of objective things, thus vividly showing them in his creation. "Learning from nature is the source of mind" is undoubtedly the best description of Yu Feian's creative method.

His works at that time had a strong flavor of the times, full of vigor and joy, and a thriving scene. The beauty of his works is not only the factors of modeling and composition, but also the harmony of color expression. The outstanding performance of his meticulous flower-and-bird painting mainly comes from his apprentice who raises flowers and birds in kind; In-depth study of color-self-made pigments, and finally wrote a book "Research on Color of Chinese Painting", which laid a solid foundation for his later work on color change of meticulous painting.

2. The inspiration and influence brought by his aesthetic thought and creative spirit.

The key factor that determines the quality of the artist's painting is the artist's own aesthetic consciousness and creative form. The essence of artistic creation is to show human respect and perception of life by depicting objective things.

The most important thing in Yu Feian's life is his cultural accomplishment and his pursuit of reading and understanding. His spirit is obvious in his paintings. As contemporary cutting-edge painters, we should learn from Yu Feian's spirit of broadening artistic horizons with cultural literacy, strengthen the judgment of future artistic development trends, and constantly seek innovation and change. In today's economic globalization and frequent cultural exchanges between China and the West, we will encounter more difficulties and challenges at the same time. Therefore, we should always maintain the attitude of "sublating" traditional culture and take the essence of foreign culture to discard its dross.

Every time I see Yu Feian's meticulous flower-and-bird works, it always gives people a warm, eye-catching, vivid and positive feeling, which always makes people linger after reading them. This has a lot to do with his creative ideas of inheriting tradition and being good at innovation, as well as his rich brushwork rhythm full of traditional aesthetic thoughts, which is worth learning. In the artistic creation of meticulous flower-and-bird painting, pen and ink, color, composition and other elements are undoubtedly important parts of painting, but the most important thing is to cultivate and improve the author's own comprehensive quality. "Painting is like a person, painting style is like a person", which requires us to pay attention to the improvement of character cultivation and deeply understand the knowledge in various cultural fields and artistic levels, so as to develop the ideas and aesthetic interests of painting art creation.

refer to

[1] Wang Hongjian. Introduction to art [M]. Beijing: Culture and Art Publishing House, 20 13.

[2]v 747488 1 . htm

[3] Yu Feian. How do I draw meticulous flower-and-bird paintings [M]. Beijing: People's Fine Arts Publishing House, 1957.

[4] China Calligraphy and Painting Network [OL], www.zhsw.com.xiandai.jindai.yufeian.

[5] Shuye Tong. Shuye Tong's works of fine arts [M]. Shanghai: Shanghai Ancient Books Publishing House, 1989 August, P25.

[6] Wang Shijin. On the innovation and development of modern meticulous flower-and-bird painting in China [EB\OL]. Bao Bo Art Network

[7] Liu Juting. On the image color of meticulous flower-and-bird painting [J]. Journal of Huaqiao University: Philosophy and Social Sciences Edition, 2006,2:125.

[8] Liu Yuan. Color art of Chinese painting [M]. Chongqing: Southwest Normal University Press, 1999.

[9] He Di. Characteristics of color application in Yu Feian's meticulous flower-and-bird painting [J]. Art Grand View-Art Theory -040

Wang. Pei Wenzhai's calligraphy and painting spectrum [M]. Beijing: China Bookstore, 1984.

Song Lijun. On the application of image color in meticulous flower-and-bird painting [J]. Sichuan: Sichuan University, 20 1 1.

About the author:

Cedar, art major, painting and calligraphy lover.