Contemporary Art Teaching Sample Collection. Contemporary Flowers and Birds. Volume 1

Author: Mei Zhongzhi (Compiler)
Publisher:
Publish Date: 1997-11-01
Features: Qing Dynasty flower-and-bird painting, inheriting tradition while innovating. Particularly during the early and late Qing periods, flower-and-bird painting developed rapidly, showcasing diverse styles. In the early Qing, the Changzhou School, represented by Yun Nantian, emphasized "freestyle brushwork with subtle elegance," employing the boneless painting technique, which became highly popular. In boneless painting, the application of color in freehand flower-and-bird painting often involves dipping the brush in multiple colors and inks at once, executed with decisive strokes, resulting in rich, full forms, vibrant colors, and a (full and resonant) aesthetic. The emergence of the boneless technique elevated the coloring techniques of Chinese flower-and-bird painting (both freehand and meticulous) to a new level, establishing the foundation for the modern and contemporary models of such works.
The court-style painting represented by Shen Qian, known for its meticulous and brilliant execution, also developed significantly and influenced Japan. By the late Qing, the flower-and-bird paintings of the Shanghai School, such as those by Zhao Ziqian, Ren Bo'nan, and Wu Changshuo, further introduced color into freehand flower-and-bird painting. Yun Nantian "applied ink with a touch of grease, followed by (coloring) with a brush to complete the effect"; Shen Qian "achieved meticulous elegance with rich, vibrant colors"; Zhao Ziqian, with strong brushwork and full ink, used bold, rich colors while absorbing the strengths of folk coloring; Ren Bo'nan employed both light and dark tones, or combined them; Xu Gu's brushwork and colors were subtle yet contained inner beauty; Wu Changshuo, with majestic and powerful style, often mixed red, yellow, and green tones with ochre ink, achieving harmony amidst contrast, giving freehand flower-and-bird painting a unique sense of color. He was renowned as the best colorist among freehand painters and influenced contemporary art.
In summary, if the several centuries of the Yuan, Ming, and Qing dynasties left later flower-and-bird painters with the aesthetic concept of "five shades of ink and deep, concise brushwork," then the literati painting built upon this concept already shone brightly in its respective eras. Today, pursuing this style neither meets contemporary demands nor feels meaningful. Instead of endlessly circling within the realm of literati painting, it is more productive to re-examine the tradition of Chinese painting, thoroughly explore the spirit of Chinese art, and deeply study the characteristics of flower-and-bird painting's rich colors. Moreover, throughout the Song, Yuan, Ming, and Qing periods, the art of richly colored flower-and-bird painting reached numerous peaks, achieving extraordinary brilliance. This is the point the author wishes to highlight and draw the attention of ( - broad readers) to: color is a vital feature of flower-and-bird painting art.