Chinese painting is a traditional painting art form in China and even many Asian countries, while flower-and-bird painting is a traditional painting method to express nature for thousands of years. His independent painting was formed as early as the Tang Dynasty, and served the royal family and the people in all previous dynasties. What we can see now is mainly the formation of painting forms in handicrafts, murals and tomb culture, especially in the royal family, which has played a great role in the perfection and development of flower-and-bird painting. The social history developed to the Five Dynasties, and most areas in the Central Plains were in war, while the regimes in the Southern Tang Dynasty in the south of the Yangtze River and the Western Shu in Sichuan were less damaged by the war. The natural conditions here are superior, the products are abundant, the economy is prosperous, some Central Plains painters fled to Sichuan during the Anshi Rebellion and the war in the late Tang Dynasty, and many painting talents gathered in the Southern Tang Dynasty. The rulers of the two places also loved painting and calligraphy, among which Xishu inherited the tradition of painting in the Central Plains in the Tang Dynasty, and was also unique in religious painting and flower-and-bird painting. The development of painting in Southern Tang Dynasty is relatively comprehensive, especially in the field of flower-and-bird painting. In the process of continuous development of flower-and-bird painting, painters have gradually improved the relationship between color and nature on the basis of ink painting, and made great efforts in ink painting, so as to reform and innovate painting, especially flower-and-bird painting, to achieve the consistency between heart and painting, to express their feelings in a new form of flower-and-bird painting, and to cast "poetry, book, painting and printing" as one, which is now called ""

The Five Dynasties and Ten Kingdoms lasted for 53 years. Although disputes coexist, painting creation has not stopped and continues to develop on the basis of predecessors. The calligraphy and painting of the Five Dynasties and Ten Kingdoms formed a period connecting the past and the future between the Tang and Song Dynasties. Figures, landscapes, flowers and birds all have new changes and characteristics on the basis of the previous generation. The war in the Central Plains did not stop the creation of temple murals, but their styles were all based on the style of Wu Daozi. In the creation of landscape painting, the ink painting method in the Tang Dynasty developed greatly, and the northern landscape painting school initiated by Hao Jing appeared. The relative stability of the Southern Tang Dynasty and its rulers' preference for painting and calligraphy made the painting in the Southern Tang Dynasty develop greatly. The establishment of the Painting Academy has opened up a new road for painters, and at the same time, it has begun to influence the folk painting concept and fashion to a great extent. Portraits of people, religious paintings and ladies' paintings are all famous, all of which were born out of Wu Daozi and Zhou Fang in the previous generation. In landscape painting, there is a school of landscape painting in Jiangnan, which is different from that in the north. Its pioneer is the famous painter Dong Yuan. Due to the preference of the court nobles, flower-and-bird painting has gradually developed. Famous painters in Southern Tang Dynasty are Cao, Zhou Wenju, Gu, Wang, Gao Taichong, Dong Yuan, Zhao Gan and Wei Xian. West Shu, which is located inland, has established a painting academy because painters have fled in succession since the late Tang Dynasty, and it is extremely prosperous in the creation of religious murals. However, abnormal works such as Guan Xiu and Shi Ke and freehand brushwork techniques have appeared in religious figure paintings. Contemporary flower-and-bird painting is extremely exquisite, and the yellow father and son are its perfectors and magnifiers.

From 1960 to 1 127, the class contradictions and ethnic contradictions in the Northern Song Dynasty and the Southern Song Dynasty were extremely acute and were destroyed by wars many times, but social development did not stop. On the basis of the development of handicrafts, agriculture and commerce, culture and art have flourished and painting has reached a new level.

The Northern Song Dynasty inherited the old system of the Western Shu and Southern Tang Dynasties. At the beginning of the founding of the People's Republic of China, the imperial court set up the Hanlin Painting and Calligraphy Institute, which played a certain role in promoting the development of painting in the Song Dynasty and also trained and educated a large number of painting talents. Zhao's painting academy is becoming more and more complete, and "painting" has also been officially included in the imperial examination. All painters in the world can pass the examination and enter the palace as officials. This is the most prosperous period of palace painting in the history of China. During the Northern Song Dynasty, the most outstanding achievement was the creation of landscape painting. Painters inherited the tradition of the previous generation, and in the process of observing and experiencing nature deeply, they created different ways to express different rocks and trees with different brushwork, which made famous artists come forth in large numbers with colorful styles. Li Cheng and Fan Kuan are its representatives. Flower-and-bird painting plays an important role in the court painting in the Northern Song Dynasty, and its style is rich and rich, which was not changed until the appearance of painters such as Cui Bai. The main achievements of figure painting in the Northern Song Dynasty are reflected in the creation of religious painting, figure painting, story painting and genre painting. Wu Zongyuan and Zhang Zeduan are both outstanding figure painters.

During the Northern Song Dynasty, apart from a considerable number of professional painters in the court and the people, there was also a team of amateur painters among the literati with certain status and official positions. Although they don't take this as their profession, they have remarkable characteristics and outstanding achievements in the creative practice and theoretical discussion of painting, and have formed their own system. This is a kind of painting called "literati painting" at that time and later called "literati painting". Participating in painting activities as bureaucrats, nobles and literati has existed since ancient times, but their works are no different from professional painters and have no theoretical system of their own. However, after the mid-Northern Song Dynasty, Su Shi, Wen Tong, Huang Tingjian, Li, Mi Fei and others were active in painting, and the momentum of literati painting gradually increased. Su Shi clearly put forward the concept of "literati painting" and thought that literati painting was higher than the painter's creation. They also found a development vein for literati painting. Wang Wei in the Tang Dynasty and even Gu Kaizhi in the Eastern Jin Dynasty became the founders of this system, emphasizing that painting should pursue the poetic realm of "simplicity", that is, the so-called "painting in poetry and poetry in painting". It advocates improvisation, does not stick to the description of the shape of objects, and requires to achieve the realm of "getting carried away". The techniques used are mainly ink painting, and the content is extended from landscape to flowers and birds, which is related to the increase of landscape flower and bird painters born in this period. The rise of this trend of thought is a great event in the history of China painting, which not only has a far-reaching impact on the development of China painting in later generations, but also has an impact on China painting circles for a period of time.

Li Tang, Liu Songnian, Ma Yuan and Xia Gui, known as the "Four Schools of Southern Song Dynasty", are the representatives of landscape painting in Southern Song Dynasty. They created their own works on the basis of inheriting the previous generation.

During the Southern Song Dynasty, literati painting was not only further discussed in theory, but also made remarkable achievements in practice. Mi Youren's Yunshan Mo, Mo Mei and Zhao's narcissus orchids are all cherished by the world. Plum, orchid, bamboo and chrysanthemum, known as the "four gentlemen", are still valued by painters and have basically become the fixed themes of literati paintings in the Southern Song Dynasty.

Song Dynasty is a period of unprecedented development of ancient flower-and-bird painting, which has made great achievements. The ornate walls of the palace make flower-and-bird painting occupy an important position in aristocratic art, and the needs of the middle and upper classes in society and the craft decoration also promote the development and activity of flower-and-bird painting. Like landscape painting, flower-and-bird painting in the Northern Song Dynasty was developed on the basis of five generations of flower-and-bird painters. Huang Quan and Xu Xi, famous flower-and-bird painters in the Five Dynasties, lived in the early Song Dynasty. Their descendants Huang Jucai and Xu Chongsi were good at flower-and-bird painting, which had a great influence on the development of flower-and-bird painting in the Song Dynasty. In particular, the meticulous sketch method pioneered by Huang Quan and Huang Jucai was regarded as a norm of flower-and-bird painting by the court painting academy in the early Song Dynasty 100. After the Northern Song Dynasty, new flower-and-bird painters appeared constantly, such as the innovative flower-and-bird painter Cui Bai (1 1 century) and Zhao Chang, who claimed to be "sketching Zhao Chang". They made innovations in breaking through the shackles of the theme of "courtyard painting", but basically maintained a purely objective description. Cui Bai's Two Birds Playing with a Rabbit and Zhao Chang's Butterfly are obvious examples.

Flower-and-bird painting in the Northern Song Dynasty, represented by courtyard painting, can objectively describe and pay attention to sketching. In order to please the rulers, even the emperor personally participated in painting creation, and they had extremely leisure and superior conditions to develop the pursuit of detail to the peak. For example, Song Huizong was a famous flower and bird painter in the Northern Song Dynasty. When he was in charge of the Palace Painting Academy, he asked the flower-and-bird painters in the academy to study whether peacocks should lift their left feet or their right feet first. Chinese rose flowers should show different changes in stamens and leaves in different periods. The pursuit of such details is an important aesthetic standard of the Royal Academy of Painting. Courtyard flower-and-bird painting in the Northern Song Dynasty pays attention to sketching and even deliberately pursues the artistic style of true details, which is the mainstream of flower-and-bird painting in the whole Song Dynasty. At the same time, the development of courtyard flower-and-bird painting laid the foundation for the rise of literati flower-and-bird painting, which was also the necessity of the formation of political system and painting at that time.

In the Song Dynasty, there was a flower-and-bird painting trend in addition to the Palace Painting Academy, which was not dominant, but had a great influence on later literati's flower-and-bird painting, that is, the flower-and-bird painting represented by Wen Tong, Su Shi's ink bamboo, Yang Tianqi's ink plum and Zheng Sixiao's orchid no longer emphasized practical sketch, but emphasized lyrical borrowing scenery. Under the influence of this artistic trend, the so-called "Four Gentlemen" (Meiju) theme in traditional flower-and-bird painting has become increasingly popular, and this trend has been greatly developed in the Yuan Dynasty when literati painting flourished.

The "literati painting" known to later generations originated from the "literati painting" proposed by Su Shi in the Song Dynasty. The literati painters in Song Dynasty were not professional painters, but amateur creations of literati and officialdom. In the middle and late Northern Song Dynasty, literati painting formed a unique system. Their paintings are lyrical and expressive, not completely constrained by formal methods, but freehand brushwork in ink and painting plum and bamboo to show noble character. I love to write Lanju to show my mind, and its perfect taste is different from that of Seiko College and professional painters. It is said that Zhu Mo flourished in the late Tang Dynasty and the Five Dynasties, but it was Wen Tong in the Northern Song Dynasty who made great achievements and had a great influence on later generations. He used to be a doctor in the capital, collecting talents and proofreading, then served as a local official in four kinds of Lingzhou and other places, and then transferred to Huzhou, but he did not take the lead. Su Shi called his poems, books and paintings "four musts". He loves painting ink bamboo and has had in-depth observation and experience of bamboo. He claimed that "painting bamboo must be done in the chest, and he was familiar with it." When he sees what he wants to draw, he starts from it and vibrates straight to catch up with what he sees, such as a rabbit falling and dying if it is not so vertical. " Although popular, it is mature. The "Zhu Mo" painted for him has a true axis shape and a rigorous and free-and-easy style. His ink bamboo created Huzhou Bamboo School. Writer Su Shi is also good at ink bamboo, and is said to have painted bamboo and the like. The legend of Mo Mei began with Huaguang monk in the Northern Song Dynasty, and Yang Bu made the highest achievement. Ou Yangxun, a calligrapher, "paints a plum blossom with strokes". His ink plum is elegant and leisurely, which is quite different from the delicate image created by college paintings.

In the spirit of literati painting, Mei Lanzhu was endowed with moral character, and his painting mentality and emotion were expressed outside the painting, such as "Four Gentlemen's Painting" and "Three Friends in Cold Years". Sometimes it is "unintentional writing" and writing about yourself crazily. It was formed in the Song Dynasty, flourished in the Ming and Qing Dynasties, and became a unique category in traditional painting.

The mainstream of flower-and-bird painting in Yuan Dynasty is to develop into literati painting, and there are few people in the painting academy who are rich in meticulous brushwork. Literati ink painting plum bamboo freehand brushwork flourished, showing great changes in the field of flower-and-bird painting. Although the author of literati painting used to be a court teacher and a master of color, he developed in literati painting. At this time, the representative figures are Zhang Zhong, Wang Mian, Ke and others, such as early teachers, especially the court painting master Huang Quan, who is famous for his ink painting style of flowers, birds, trees and stones. Flowers and birds are subtle, rigorous and elegant in ink painting, showing the style of turning flowers and birds into literati interest. In Zhang Zhong, he also painted flowers and birds with ink, which is rough and simple compared with Wang Yuan.

The formation of "literati" flower-and-bird painting has injected new consciousness into China traditional painting. Despite the constant wars and political chaos in the Five Dynasties, "literati painting" has also been recognized by the upper class and the public, and it is also developing continuously. The expression of "literati" is not limited to painting, but involves various cultural fields, thus providing a good soil for flower-and-bird painting in painting and making the development of "literati flower-and-bird painting" go ahead. Xu Wei is the representative of "literati flower-and-bird painting" since the Five Dynasties. He has this mentality, he is pregnant with peerless wealth, and he has the talent to help the world, but he can't display it. Therefore, in the creation of freehand brushwork flower-and-bird painting, he integrated the advantages of Wu Pai's freehand brushwork flower-and-bird painting and Lin Liang's freehand brushwork flower-and-bird painting, and treated them indifferently. He indulged in brushwork like weeds, splashed ink, and emphasized the charm in the image of flowers and trees between similarity and dissimilarity, which was longer than other literati in painting. Badashanren is another outstanding representative of literati painting after Xu Wei. The completion of flower-and-bird painting in his works is an anthropomorphic expression. He expressed his mentality through painting, criticized the current dynasty and scolded the West to express his dissatisfaction, which made literati painting, especially flower-and-bird painting, reach the height of New literati paintings and had a great influence on later generations and modern times.

The rise of literati painting was closely related to the social development at that time. Painting has always been a doll in the field of literati. In the old days, the style of painting bound many painters, far less than the state of mind of the literati at that time. Therefore, many painters, including court painters, turned their works to literati painting and shifted their painting mentality to literati painting to satisfy the people and literati painting. Since the Five Dynasties, the creation of literati painting style gradually matured at the end of Yuan Dynasty.