Historical Schools of Writing Bird and Flower Paintings

In the Fifth Dynasty, Huang Chyuan and Xu Xi rose up side by side and gradually became two major systems, which continued to derive later. In the Ming Dynasty, bird and flower painting evolved into four major systems: Huang's style of Bian Jingzhao and Lu Ji, the capitalist style of Lin Liang and Xu Wei, Chen Chun's simple ink and light-color small-writing style, and Zhou Zhiwei's flower-dotting and writing style. The next volume of Guochao zhengluo (《国朝画征録》) summarizes bird and flower painting into three schools, saying, "There are three schools of bird and flower painting: one is dye-sinking, the other is bone-less, and the other is writing. Chromatic, Huang Chyuan's method; boneless, Xu Xi's method. Later generations learn from Huang Chyuan, if Yuan Zhao Zi'ang, Wang Ruoshui, Ming Luji, the most known as a good hand; Zhou ZhiLuan slightly concurrent with Xu's method, the so-called hook flower point leaf is also. ...... its school of writing, Song time has been, but do not know from whom. To the Ming Lin Liang, the only one who excels in its victory, followed by Shida, Baiyang generation, a little bit of its intention, if the whole of the wonderful, non-powerful learning will lose" (Li source, Lin Mu, edited by the development of ancient Chinese painting history, Shanghai People's Fine Arts Publishing House, April 1997 edition, p. 340)

The two systems of the Fifth Dynasty, Huang Chyuan and Xu Xi, are important schools of painting derived from the history of the development of Chinese flower and bird painting. The four systems of Ming dynasty flower and bird painting are also an important window to examine the changes in the derivation of Chinese flower and bird painting schools. Bian Jingzhao, word Wenjin, learned in poetry, excelled in painting birds and flowers, inherited the tradition of the two Song dynasty courtyard style of brushwork and heavy color, his works are beautiful and magnificent, fine and exquisite, Han Ang "Pictorial Treasures" said that his works "not only outlined with a pen, the ink is not appropriate". His works include Bamboo and Crane Chart Shaft, Bamboo and Crane Twin Clear Chart Shaft (with Wang Sash), Apricot and Bamboo Spring Fowl Chart Shaft, Three Friends and Hundred Birds Chart Shaft, etc. The Shanghai Museum has the Bamboo and Bamboo Spring Fowl Chart Shaft in its collection. The Apricot, Bamboo and Spring Birds scroll in the Shanghai Museum reports spring with apricot blossoms and bamboo, and sends the spring birds to spring, which is full of spring light and vitality. Lv Ji paintings of birds and flowers is very outstanding, he learned from Bian Jingzhao, far from the Southern Song Dynasty Academy style, colorful, for the Ming Dynasty, one of the representatives of the Academy style bird and flower painters. The Shanghai Museum of China's collection of his "bathing eider map axis" works, well dealt with the relationship between the eider and running water, bold composition, smooth ink, coloring elegant and light, breath and clear, reflecting the Ming Dynasty bird and flower painters skillful techniques and the ability to create space and time. Lin Liang's bird and flower paintings emphasize on the writing of ideas, with bold ink, which is enlightening for the establishment of literati ink and writing bird and flower paintings. He was good at painting ink flowers and birds, and his Double Eagle Figure Shaft in the Shanghai Museum was magnificent, with the eagle's eyes gleaming, branches and leaves interspersed, and the ink dripping, reflecting the full splendor of the Ming Dynasty's courtyard style paintings. Xu Wei's capitalist style is simple and concise, and does not seek to resemble the object, but focuses on writing its interest and temperament, so it is called "writing". His paintings are more simple and generalized than the previous reduced-brush ideographic paintings, and they are free and open, so they are called "Daiwuyi". Xu Wei greatly admired Chen Chun, Xie Shichen and Chen He. He was concerned about Chen Chun's way of writing flowers and birds, and once trekked "Chen Baiyang Volume", saying: "Chen Daofu flower ho a world." In the collection of Xu Wenchang's writings? Book Xie Chaoshu Shichen Yuanming Volume for Ge Gongdan" appreciated Xie Shichen's landscapes strong pen and ink, said "Wuzhong painting more than ink, Xie old ink quite a lot, his township surprised. On the other hand, Chen He's flowers in ink and water are sighed as "cloudy, glittering and rainy, dazzling and dewy, which is called Tao's change". (Ming Xu Wei, "Xu Wen Chang Wenji - Book Chen Shanren Jiugao's three flowers") Xu Wei's works include flowers, grass, trees, fruits and melons, fish and insects, animals, landscapes and people, especially famous for flowers. His Flowers and Fruit Scrolls in the Shanghai Museum are praised for their indulgent brushwork, hearty ink, poetry and painting. The Peony, Banana and Stone Scroll and the Kite Scroll in the Shanghai Museum, the Ink and Bamboo Scroll and the Life Drawing Scroll in the National Palace Museum in Taiwan, the Miscellaneous Flowers Scroll in the Nanjing Museum, the Twelve Sections of Ink and Flowers Scroll, the Four Seasons Flowers Scroll and the Nine Sections of Ink and Flowers Scroll in the National Palace Museum, the Miscellaneous Flowers Scroll in the National Museum of History of China and the Ink and Flowers Scroll in the Yunnan Provincial Museum are all rare works of art, from which it can be seen that his work is a masterpiece. These are all rare heirloom works, from which we can see Xu Wei's wonderful ink and brushwork in large capitalization. Chen Chun, with the character of Daofu, his simple ink and watercolor small writing occupies an important position in the painting world. The long scrolls of flowers he created in his later years are quite distinctive, sometimes in the order of the four seasons, and sometimes in the intersection of time and space, which is quite a visual impact of the combination of ink and water. The Twelve Types of Flowers in Ink Scroll in the Shanghai Museum is characterized by plum blossoms, orchids, roses, lilies, moonflowers, asters, okra, osmanthus, hibiscus, chrysanthemums, daffodils, and camellias, with a variety of postures and a profusion of flowers, all of which are written in a lyrical manner and drenched with ink and water. Shanghai Museum collection of "flowers and fruits scroll", "Camellia Narcissus Figure", "Flower Album" also belongs to the Chen Chun ink and colorful chapter, people stop. In fact, said Chen Chun's bird and flower painting is expensive in simple ink and watercolor small writing, this is only focusing on the ink from Shen Zhou's ink writing to Chen Chun's ink writing in terms of the leap, in fact, Chen Chun in the later years of the bird and flower masterpieces have been presented with ink and ink in large capitalistic appearance. Xu Wei benefited from Chen Chun's large-scale ink and brushwork. The world called "Qingteng Baiyang", but in fact, Qingteng also originated from Baiyang. Zhou Zhiruan's works of "hooked flower and leaf" and "work and writing" are also the inevitable place to explore the changes in the derivation of the Ming School of Painting. Zhou ZhiLuan's "hooking flowers and dotting leaves" originated from Sun Long, Shen Zhou and Chen Chun's method, which he used as a masterpiece to push forward and create something new. Wang Shizhen once commented on three mid-Ming Dynasty artists, Chen Chun, Lu Zhi and Zhou Zhi Crown, saying, "Daofu (Chen Chun) is wonderful but not real, Shuping (Lu Zhi) is real but not wonderful, and Zhou Zhi Crown summarizes the strengths of the two sons". Nanjing Museum collection of Gui Zi Figure and the Palace Museum collection of flowers scrolls are Zhou ZhiLuan's masterpieces. Shanghai Museum Zhou Zhiruan "birds and flowers album" of the birds and flowers, "hook flowers point leaves", writing and brushwork, ink rhyme in color, from which can be insight into the derivation of the Ming dynasty school of painting veins.

In the history of the development of Chinese bird and flower painting, although there are many schools of painting, different techniques, but in the focus on this point, but the formation of sketching **** knowledge, and continue to follow. Song Huizong Zhao Ji heavy bird and flower sketching, circulating many anecdotes. He asked to paint the moonflower and peony flowers carefully observe, can draw the changes of different time. Once, all the painters sketched peacocks, only to emphasize the vividness and richness of the painting peacocks to rise pier for the first lifting the right foot. Zhao Ji told him that he needed to be careful and realized that the peacock must lift its left foot first when it rises, which was a good story in the painting world. Zhao Ji emphasized on sketching, which greatly benefited his creation, and his works were praised by Deng Chun as "wonderful body of many shapes, with six methods". Zhao Ji's "willow crows and geese picture scroll" in the Shanghai Museum is as elegant as possible, with low-hanging willow leaves, crows and geese frolicking in the water, a leisure scene. The charm of the marvelous, can not say and usually heavy sketching, inspecting the subtle has nothing to do. The masters of the Yuan Dynasty ink and wash sketching are Chen Lin, Wang Yuan and Zhang Zhong. Chen Lin, with the help of sketching, broke through the traditional brushwork and heavy color painting techniques, depicting objects in ink and light color, forming a rich artistic personality of hooks, brushes, dots, and dyeing method, rigorous modeling, and simple brushwork with a high intention, and his "Stream Teal Figure Axis" was praised for the history of bird and flower paintings. Wang Yuan got the lightness from sketching, and his masterpieces "Flower and Bamboo Birds" and "Flower and Bamboo Brocade Chicken" had a great influence on the later generations. Zhang Zhong at that time was known as "sketch first", using ink and coloring, y literati writing charm, the Shanghai Museum collection of his "Hibiscus and Mandarin Ducks Figure", the pen is fresh and elegant, the mandarin ducks and the water is very rich in momentum, can be said to have won the vitality of life from the sketch. Chen Chun painting also valued sketching, its "diffuse Xing flower album" said in the self-title: "the ancients sketching from Ma Yuan, Xu Xi and the next, all with exquisite color, red, white, green and green must seek to resemble the shape of things, no hair left behind, cover really got its law carry on." He also talked about when he was a teenager, "have a heart in this, both and want to create all the different creatures, and the same kind of people are not the same endowment and the shape is different". Zhou ZhiLuan was good at observing the dynamics of bird life, and all his brush strokes had business. His painting achievements were naturally characterized by the beauty of sketching. The Qing Dynasty Ren Yi's painting style is clear and beautiful, and one of the important reasons is that he emphasized on sketching and was good at capturing the feelings of life. Usually he paid attention to the observation of flowers, birds, livestock, often concentrated, very focused. Once he climbed out of the skylight, turned to the roof of the cat fights, concentrate on sketching sketches, the guests came, I do not know where to go, and finally saw him on the roof. The Shanghai Museum collection of Ren Yi "birds and flowers album" is very angry, is its feelings of the image of the pen and ink fixed. Of course, the so-called sketching of the ancients is different from the sketching in today's Western painting. "In heaven and earth, everything has a kind of business" (Zhu Yunming's words), life and meaning are inseparable, and it is difficult to separate sketching and writing. It is self-evident that sketching is to write the life and business of things. The method of sketching promotes the vitality and development of Chinese bird and flower painting.