On the development of flower-and-bird painting from the perspective of institutional painting in Song Dynasty

The emperor of the Northern Song Dynasty was keen on painting and gave preferential treatment to court painters. In the early days of the People's Republic of China, Hanlin Painting Academy was established. Song Taizu was the son of Huang Quan during the Kande period (963-967). He inherited the painting style of Huang Quan, and made the picture magnificent through sketching and coloring. At that time, because he was in charge of judging artists' skills in Song Taizong Painting Academy, painters all over the country catered to him for a time, making the meticulous "Royal Fu Gui" become the standard format of flower and bird creation in the Academy. His painting style is more exquisite, rich and elegant than his father's coloring. Xu Chongsi, the grandson of Xu Xizhi, followed the painting style of his ancestors who were indifferent to wild interests. As a field painter, he still enjoys a good reputation outside the painting academy. Due to the influence of "Huang Jiafugui" in academic painting at that time, this form of Xu Chongsi had to change the "dripping ink method" handed down by his family, imitate the style of "Huang Jiafugui", and directly use color stippling instead of pen and ink to create a "boneless method". Due to the monopoly of corpus luteum on flower-and-bird painting gardens, in the early Northern Song Dynasty, many painters gave up the experience of life reality by imitating corpus luteum for more than 0/00 years. Giving up one's individuality led to the stagnation of flower-and-bird painting, and the works became more and more vulgar, rigid and lifeless. Later, some artists with personality were dissatisfied with the bondage of corpus luteum, and insisted on the way of sketching deeply into life, which finally broke the situation that corpus luteum stood out and ushered in another prosperity of flower-and-bird painting. Representative painters are Zhao Chang, Yi Yuanji, Cui Bai and Song Huizong. Zhao Chang is good at finding expression skills from the observed objects. His paintings are "all alike" and he has his own style, calling himself "sketching Zhao Chang". Some people think that Zhao Chang's painting is a combination of the coloring of "Huang Jia" and Xu Xi's pen. Su Dongpo thought: "Zhao Changhua is lifelike" and wrote a poem praising: "Why praise Mo () and admire Jiangnan workers alone". This is enough to show Zhao Chang's influence in the Song Dynasty painting circle. At the same time, Yi Yuanji is also a painter who pays attention to sketching in painting.

When it comes to painting in Song Dynasty, Song Huizong is always mentioned. He was politically incompetent and was appointed a traitor. But he loves art and is accomplished, especially flower-and-bird painting. After he acceded to the throne, he sighed to himself, "I have nothing better than painting ears." He used his power to advocate the Palace Painting Academy and recruit and train outstanding painting talents. His requirements for painting art: first, to pursue the authenticity of life; The second is to pursue the meaning of poetry. He often asked the court painters to experience sketching, and took the poems of the ancients as the topic to examine the literary accomplishment of the painters. Under his strict requirements, the flower-and-bird paintings at that time were true in image, vivid in artistic conception and outstanding in achievement.

Among many representatives, Cui Bai is the most influential one. He pays attention to sketching, is good at sketching and coloring, and his lines are as strong as silk. Set colors and talk about elegance. On the basis of inheriting Huang Xu's two styles, he created another elegant and beautiful style. He had a great influence on the prosperity of flower-and-bird painting in the college. First, its unique and novel painting style makes the pattern of the painting academy that has been followed for nearly a hundred years only "Huang Jia" become history. After Cui Bai, there are famous flower and bird painters such as Cui and Wu. They all made indelible contributions to the development of flower-and-bird painting. While Zhao Chang, Yi Yuanji, Cui Bai and others changed the painting style of college sports, the literati began to have a new understanding of Xu Xi and began to re-evaluate the "splash ink" method. The appearance of this phenomenon is consistent with the historical background at that time. Under the influence of college painting, many literati were tested in political competition at that time, and their careers were unsatisfactory, so they needed painting to adjust their unbalanced psychology. Inspired by Xu Xiye's Yi Painting School, a new painting trend-literati painting trend first rose in the field of flower-and-bird painting, and later involved in the field of landscape painting. The subject matter of literati painting contains the connotations of weakness, faithfulness and narcissism, which is in tune with the thoughts and feelings of literati. In terms of pen and ink modeling, it is also suitable for writing in the form of calligraphy, rather than requiring strict modeling skills like the general flower-and-bird theme.

In the Song Dynasty, when literati painting became more and more mature, Wen Tong, Su Shi, Yang Wuxia and Zhao were the representative painters of literati painting at that time. Most of them are depressed because they are frustrated in officialdom or have a bad career. Therefore, with the help of pen and ink, you can express your feelings, pin your spirit or character, and paint for your own entertainment. With the help of painting ink bamboo, Ru Wentong endowed him with the spirit and character of modesty, frugality, disliking glory and cold ling. Su Shi painted with books, and all the bamboo stones he made were weird and twisted, just like the contradiction and anger in his chest. Yang has no regrets, but he paints plum blossoms with integrity and integrity. His painting style is elegant, noble and elegant, which embodies an artistic realm beyond the worldly customs. In the Yuan Dynasty, a powerful force unified China and established the Yuan Dynasty. The rulers of the Yuan Dynasty adopted a discriminatory policy towards the Han culture. This has caused strong psychological resistance among Han intellectuals, which is reflected in painting and is the heyday of literati painting. In this way, the meticulous painting school that has made the Tang, Five Dynasties and Song Dynasties brilliant for hundreds of years is like: there is no spring break. At that time, driven by the trend of thought of literati painting, it helped the painting academy in the Song Dynasty to be rich and colorful, absorbed the elite of ink painting in the Song Dynasty, and combined with the painter's cultivation and understanding of life, he was "curious", constantly innovative, colorful and interesting, which made the development of flower-and-bird painting change course and embarked on the road of ink painting. Based on the above reasons, literati painters in Yuan Dynasty had a special liking for bamboo, stone, plum and orchid. Influenced by literati landscape painting at that time, most of them gave up color rendering and painted with ink and wash. Perhaps in this way, they can express their indifferent feelings and lofty character more freely, appreciate life in the shade of ink and the rigidity and softness of lines, and make ink freehand brushwork further developed in the Yuan Dynasty. Painters in Yuan Dynasty often inscribed poems on paintings, which were an inseparable part of the picture, enriched and deepened the connotation of their works, and finally formed a unique artistic form of poetry, calligraphy and painting.

The Ming people pursued the Song system from the charm of Yuan Zaju, but it was more closely related to Yuan Zaju. The method of hooking flowers and pointing leaves widely used by Ming people is a model of inheriting the tradition of Yuan people. For example, Shen Zhou in Ming Dynasty, whose style and style evolved from the rules of literati, especially Zhang Zhong, was further influenced by Shen Zhou, Wen Zhiming, Tang Yin, Lu Zhi and Zhou Zhimian. These are all related to the Yuan people. It can be said that Shen Wenbu's sketches of Ming people were replaced by Baiyang (Chen Chun), Qingteng (Xu Wei) and eight schools of Modu. Although their pen and ink have different meanings and interests, all three of them expressed their extremely strong personal feelings through extremely simple images, especially Ivy League and Eighth National Congress, which wrote symphonies of dots, lines and ink blocks with tears and ink to express their voices. Later, the Eight Eccentrics in Yangzhou, writing brush and dancing ink, flourished. Although it is not as shrouded as Yunnan Tian and Hua Xin Luo, it is no match for the freehand brushwork school that has been flooding for a lifetime.

Throughout the development of ancient flower-and-bird painting, we have seen it for thousands of years, and the origins are endless, and the years have passed. The quality of literature is still the same, but the result is the same. If we regard one as a link between the past and the future; Second, outstanding achievements; Third, it can represent the mainstream of painting in a period, which has undergone the following five major changes: Bian Luan's sketch changed in the middle Tang Dynasty; In the Five Dynasties, "Xu Huangyi" changed again; In the Song Dynasty, the painting academies of Cui Bai, Wu, Li Di had new changes. In the Yuan Dynasty, Zhao Zi, Qian Xuan, Wang Yuan and Zhong Zhang had new changes. In the Ming and Qing Dynasties, the ink capitalization of Baiyang, Qingteng, Bada and Baguai changed again.

Among them, the change of Yuan people has his special significance. Covering the three changes before the Song Dynasty, none of them belong to the category of meticulous realism, painting flowers like a smile, writing birds like a life, with rich themes and diverse styles, reflecting simple lyricism and love for natural scenery. The Ming and Qing dynasties changed generations and became the wind of freehand brushwork. The painter's concrete feeling of objective things is more important than the personality spirit reflected by the image business, and his adaptability to the subject matter is greatly reduced. Pen and ink become the main content of arousing aesthetic feeling. As a medium, the ink bird in Yuan Dynasty not only played an excessive role as a bridge between meticulous painting and freehand brushwork, color setting and ink painting, writing and creation, painting and literati painting, but also shone brilliantly in the meantime. On the richness of subject matter, he is not as rich as Ming and Qing Dynasties, but contains more distinct subjective interest; On the ideological capacity, although it is not as good as that in Ming and Qing Dynasties, it shows the objective reality of seeking truth from facts. It is a freehand brushwork in realism, a representation in reproduction, and a color in colorless. At the same time, it pursues the expressive force of pen and ink and the adaptability to objects, and pursues the integrity of artistic image, spirit and meaning, implication and connotation, thus opening up a broader world for the development of flower-and-bird painting.