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Description
This paper first selects the main reasons for the reform of flower and bird painting during the period of 1949-1966 and determines the central argument. Secondly, from the three "Chinese Painting Debates", the paper discusses the way in which the painting form of flower and bird painting gradually changed from realism-nationality-freehand. The third part compares the works of "Beijing and Tianjin" painters before and after the founding of the People's Republic of China. It studies how "Beijing and Tianjin" painters responded to the country's literary and artistic policies and what persistence and changes they made. Finally, it uses graphic examples to analyze the changes in subject matter, artistic concepts, graphic style, and language techniques. In this way, the history of the transformation of flower and bird painting is summarized and restored.
This paper focuses on the development context and reasons of the reform of flower and bird painting from 1949 to 1966 as the entry point, uses Panofsky's iconography theory and Chinese flower and bird painting theory, takes the works of representative painters of the "Beijing and Tianjin School" as the research object, and focuses on the evolution of flower and bird painting in the past 17 years of New China, and conducts graphic analysis from the aspects of subject matter, concept, graphic style, and language techniques.
This study found that in the development and evolution of flower-and-bird painting, it is necessary to objectively clarify the guidance of political thought on flower-and-bird painting so that flower-and-bird painting can give full play to its own artistic advantages and serve the people with the people as the center. It is also necessary to understand how Chinese traditional ideas and modern ideas are integrated with each other as a medium. The ideas of "new" and "old" cannot be completely integrated overnight. The integration of Western "realism" into the concept of "harmony between man and nature" in Chinese painting has made the development of flower-and-bird painting difficult in the "New Chinese Painting Movement", and contradictory factors have also emerged. We must also look at these problems objectively.
In the past seventeen years, the subject matter of flower-and-bird painting cannot be determined by itself. Its value is to serve the people's real life and emphasize the social function of art. The artistic function has been weakened and the cultural connotation has been ignored. From Yu Fei'an to Guo Weiqu to Pan Tianshou, they represent the "realism", "nationality" and "freehand" of flower-and-bird painting. Their change in painting concepts represents the change in the pattern of flower-and-bird painting in the past seventeen years. The idea of "preserving national quintessence" of the artists of the "Beijing-Tianjin School of Painting" corrected to a certain extent the damage caused to Chinese painting by the extreme ideas of the "Art Revolution" during the 17-year painting reform, and became a major feature of the development of flower and bird painting in the 20th century.
