Taking ancient painters and paintings in China as examples, this paper explains the characteristics of ancient landscapes, figures and flower-and-bird paintings in China.

A Chinese painting. Xuan He Hua Pu in the Northern Song Dynasty. "On Flowers and Birds" said: "Poets have six meanings, and they know the names of birds, animals and herbs better, and they also remember the ups and downs of the four seasons, so the beauty of painting is more interesting here, which is different from poets." In Chinese painting, all paintings that describe flowers, flowers and birds, fish and insects are called flower-and-bird paintings. There are three painting methods of flower-and-bird painting: meticulous painting, freehand brushwork and part-time work. Fine brushwork flower-and-bird painting is to outline the moving image with thick and light ink, and then color it layer by layer; Freehand flower-and-bird painting is to draw objects in a concise and general way; Between meticulous painting and freehand brushwork, it is called part-time job.

There are many flower-and-bird painters in the past dynasties, such as the crane in Snow Ji in the Tang Dynasty, the peacock in Bian Luan and the flower bamboo in Diao Guang Yin. The eagle of Guo in the Five Dynasties, the flower and bird in the grave; Flowers in Zhao Chang, birds in cypress and flowers and birds in Wu in the Northern Song Dynasty; Branches of Wu Bing in Southern Song Dynasty, flowers and fruits of Lin Chun, birds of Li Di; In Yuan Dynasty, Li Li's Bamboo, Zhang Shouzhong's Yuanyang and Wang Mian's Mei; Birds in Lin Liang in Ming Dynasty, ink flowers of Chen Chun and Xu Wei; Fish in Qing dynasty, lotus in clouds, birds in Hua Nie; Modern Wu Changshuo, Huadu and so on are all famous flowers of a generation. See "Four Gentlemen".

China's figure painters believe that God is in the shape of a king, firmly grasping the eyes, gestures, postures and important details that are conducive to vividness, emphasizing the distinction between primary and secondary, and a little detail, which is more detailed in conveying emotional facial expressions than in clothes, and more detailed in character activities and their expressions and reactions than in describing the environment. As far as the relationship between characters' activities and environmental scenery is concerned, lyric works often set off the characters' modality by creating artistic atmosphere. Narrative works are especially good at dividing space from environmental scenery or indoor furnishings in the form of banners or long scrolls, and narrating events in the process of time one by one by reappearing the main characters, which breaks through the limitation of unifying time and space. The pen and ink skills and techniques used in figure painting pay more attention to the basic role of brushwork in meticulous color setting, line drawing and small freehand brushwork, thus creating eighteen brushworks. On the one hand, brushwork or description obeys the structural texture, sense of quantity and expression of the image, on the other hand, it also conveys the author's feelings and embodies the author's personal style. Freehand figure painting, pen and ink use each other. There is ink in the pen, pen in the ink and pen on the paper. It is not only vivid, but also lyrical and vivid, and it also shows personal style, which is far more difficult than landscape flower-and-bird painting. Portraits of people, known as music and pleasure maps, always put people in the specific scenery that is the easiest to express their temperament and personality, which is different from ordinary portraits. In the combination of color application and poetry printing, figure painting has the characteristics of general Chinese painting.

China's landscape paintings are the heaviest precipitation of China people's feelings. The mainland cultural consciousness of traveling around mountains and water, the inner cultivation consciousness of taking mountains as morality and water as nature, and the optical illusion consciousness at hand have always become the main axis of landscape painting interpretation. From landscape painting, we can concentrate on appreciating the artistic conception, style, charm and tone of Chinese painting. No painting discipline can give China people more emotions like landscape painting. If we argue with others, landscape painting is the inheritance of the nation, classical self-confidence, my image and human temperament.