China meticulous flower-and-bird painting has a long history, and color and line structure are one of the main components of meticulous flower-and-bird painting. In recent years, with the increasing contact with foreign countries, in the frequent cultural and artistic exchanges between countries and China, the language form of modern meticulous flower-and-bird painting is inevitably impacted by western painting. How to better combine with China traditional painting, absorb excellent traditions and develop their own independent personality has become the primary goal of modern painters' efforts and innovation. Painters should not only continue the fine tradition of ancient times, but also innovate and develop this kind of painting, giving it independent aesthetic value and expressive function of color and form. These problems enable modern meticulous flower-and-bird painters to form multiple forms of modern meticulous flower-and-bird painting in the process of inheriting and breaking through the tradition, which provides a solid memorial for the future development of meticulous flower-and-bird painting.

The main expressive languages in painting are colors and lines, which are the basic elements of painting artistic style and have always been the primary means to give people visual impact. Whether it is traditional or modern, whether it is oriental or western painting, colors and lines have always played an important role in the picture and have always been an important constituent factor. It has become an important expression of China's meticulous painting. Under the impact of western modern oil painting, watercolor painting and other paintings, China's meticulous flower-and-bird painting no longer sticks to the traditional limited color and composition form, but begins to combine the mature ink color of China with the application of western color to find an independent language of China's modern meticulous flower-and-bird painting.

In terms of composition, there are more and more panoramic works. Many works no longer take flowers and birds out of the environment, but put them in their proper ecological environment. The works are rich in content, grand in scene and full in composition, giving people a strong visual impact. Influenced by the perspective of western painting, many works pay attention to the level of depth. On the other hand, other works draw nutrition from arts and crafts and folk art, pursue an abstract meaning with constituent factors, and seek a balance between realism and decoration.

In terms of color, modern meticulous flower-and-bird painters began to try their best to avoid the singleness and patterning of color, updated the concept of "color by category", changed the "three-alum and nine-dye" process with "separate dyeing" and "cover dyeing" as the basic means, and began to absorb the color method of western painting, treat the picture with a unified tone, and pay attention to the relationship between black and white, tone contrast, cold and warm contrast, so as to make the picture rich without losing unity. Different from traditional meticulous painters, modern painters mostly learn from art colleges, absorb a lot of western painting nutrition, have a solid modeling foundation and color cultivation, gain unprecedented realistic reproduction ability, and improve the visual ability of meticulous painting to learn from real life. Coupled with the perception of color, promote the traditional meticulous painting color to modern development.

With the changes of the times, modern meticulous flower-and-bird painters have updated their creative concepts and broadened their creative themes. Ficus, miscellaneous flowers, fields, vegetables, fruits, corals and other objects that have not appeared in traditional paintings have also become creative themes. There are also some painters who boldly exaggerate and deform according to the decoration requirements of their own pictures, and are not bound by the natural form of objects, such as Chen Zhifo's Moon Goose Map and Chen Xinhua's Native Land.

China's traditional painting always pursues people's emotional appeal and satisfaction, rather than the truth of the painting object. This is contrary to the pursuit of realistic painting in the west. The color of China's paintings is endowed with more subjective consciousness, and what I hope to get from it is the pleasure in the spiritual field. Due to the new development of modern meticulous flower-and-bird painting in theme, expression and tool materials, it has gradually formed a new aesthetic realm. Expand the appeal and expressive force of flower-and-bird painting by expanding the space; Turn small interests into touching artistic conception and touch the soul through visual impact; The picture is rich in content, which enhances the artistic appeal; Abstract decorative works properly convey the aesthetic taste of modern people.

Under the traditional culture of China, in the artistic practice handed down from generation to generation, meticulous flower-and-bird painting takes images simply and mostly describes the subject matter. The achievement of poetry, with the help of association and imagination to build a poetic scene full of emotion, can be expressed in a formatted way, and the modeling, color, layout and certain decoration can be embodied in a stylized way. On the premise of pursuing "likeness" and "truth", express the life and characteristics of the object and make it breathless. Oppose the passive description of flowers and birds, and emphasize the inner touch when observing the object, while creation is the emotional sustenance of things and arouses the audience's inner feelings about life. Carry forward the advanced art of cultivating noble sentiments and life ideals.

China's flower-and-bird painting has matured in the Song Dynasty, and the "Yellow Spring" father and son are the representatives of the mature period of meticulous flower-and-bird painting. In the Song and Yuan Dynasties, not only "painting with color" became the mainstream, but also "boneless" and "sketching" forms appeared, with pure colors. Modern meticulous flower-and-bird painting not only inherits the excellent tradition, but also innovates. Few people stick to the traditional "broken branches" and "overgrown flowers", but take money from landscape paintings or use half-cut, open-air land. But the picture does not ignore the status of flowers and birds as the main body, and the big picture is obvious, which makes the object in its proper ecological environment. Still pay attention to poetic attainments, and no longer rely on the posture of flowers and birds to arouse the interest of the audience.

The painter began to pay attention to the expression of flower-and-bird modality in the morning light, moonlight, dew and wind and rain. Such as Morning Dew and Chun Qing by Li Kuizheng. Moreover, the painting techniques are no longer simple, combining Chinese and western, and accepting both ancient and modern. Some also draw lessons from the exquisite elegance of Japanese painting. Traditional sketching, coloring and line drawing are comprehensively used by many painters. Mica, Japanese color, advertising color, acrylic, etc. , as well as salting, flushing, papermaking, etc. , has also become a means of expression, they are also looking for a brand-new atmosphere and texture with freehand brushwork as the purpose, realism as the ontology and decoration as the purpose. The innovation of tools and materials enriches the expression of modern meticulous flower-and-bird painting and expands the artistic conception of flower-and-bird painting.

Gefei in Beijing, Chen Zhifo in Jiangnan and Zhang Daqian in Bashu. Ge Fei's Sketch and Coloring was obtained in the Song Dynasty. Chen Zhifo's meticulous flower-and-bird painting is also dominated by "double hook coloring". Influenced by Japanese painting, Qian Shunju adopted the Jing Ya style of "sparse but refined" in Yuan Dynasty. Zhang Daqian is unique and good at inheriting the good traditions of the ancients. Tian Shiguang and Yu Zhizhen also studied under Ge Fei and Zhang Daqian.

Chen Zhifo's uniqueness in the field of meticulous flower-and-bird painting lies in his innovation in the past. He inherited the tradition of the Song Dynasty, drawing lessons from traditional modeling and consciousness, and his modeling was mainly neat and realistic. On the basis of traditional techniques, he combined the decorative techniques of patterns with the coloring characteristics of Japanese painting. The picture pursues aestheticism, showing the beauty of elegance and indifference. Such as: snow doll map, moon goose map, etc. According to different images, seasons and feelings, his paintings adopt different techniques. Some are rendered into wrinkles and look tall and straight. Some of them use water dyeing to make them look pale and moist. Chen Zhifo's meticulous flower-and-bird painting is obviously decorative. On the objective basis of depicting flowers and birds, the decorative techniques of imagery, exaggeration and deformation are properly used. Because he used many decorative techniques in the picture, showing his unique personality and modern characteristics. The method of water accumulation in Chinese painting has been used by many painters before, but he popularized this "stunt" and applied it flexibly. The natural flowing and penetrating water stains have the texture of modern design, and the content to be expressed is unified with the emotional appeal of the picture, which has both the texture of the object and the performance of the material. Chen Zhifo's flower-and-bird paintings use subtle colors. He has absorbed many foreign influences on the basis of tradition, which is light, elegant and very uniform. In the method of color setting, he kept the traditional "three alum and nine dyes", which can be used flexibly according to the actual picture needs. Use light colors to express the distance, reality and background of objects.

Jin Hongjun's flower-and-bird painting benefited from Tian Shiguang, Yu Zhizhen, Li Kuchan and Wang Xuetao in many aspects, which made Jin Hongjun deeply understand the tradition of meticulous flower-and-bird painting in his creation and inherited the serious creative spirit of observing life and grasping nature. Although his paintings are meticulous, they are full of freehand brushwork. Using lines, especially drawing lines in the same line, is one of the essential modeling means and main techniques in meticulous flower-and-bird painting. In meticulous flower-and-bird painting, lines should show the structure and outline, texture, light color and artistic conception of the object. The first three are objective appearances, and the latter is subjective modality. Without one of the first three, you will lose the integrity of visual image, while without the latter, you will lose the appeal of art. Therefore, it is particularly important and essential to express affection with lines. In the preface to Selected Works of Jin Hongjun, Yang Yuepu praised his use of lines: "I am fascinated by the line skills in Petunia. I once read every line of the whole painting, trying to find a place of failure, but I couldn't find it. Instead, use lines easily, casually and smoothly in writing, so as to express them accurately. It shows Jin Hongjun's meticulous view of things and subtle pen use. The painting Colorful Flowers unifies the whole picture with cool red tones. Several groups of flowers are divided into morning light, purple, rose and other colors, and scarlet and orange are less used. In the hierarchical performance of the picture, it depends on the combination of color change and double hook boneless painting.

Petunia, Red Man's Fragrant Hill Road, and The Dove on the Maple Leaf are all works that give life a modern flavor, showing profound creative ideas in the intake and expression of images. The previous generation of painters had a standardized aesthetic habit in the choice of flower-and-bird images: "All flowers are cut and trimmed", while Petunia and Red Man Xiangshan Road broke the traditional aesthetic habit, cut off a corner of the living environment, created new images and new aesthetic expressions, and even combined the originally unsightly barbed wire and white morning glory. In Petunia, the dark green flowers are painted with water, and finally the veins are painted with gold, which makes the picture have decorative luster. The concrete floor in "White Dove in Maple Leaf" is difficult to express by traditional techniques. Jin Hongjun beat the spots on the foundation with broken foamed plastic dipped in color, and then showed them by dyeing.

Yu Zhizhen and Tian Shiguang are teaching Li Kui. Yu Zhizhen and Tian Shiguang's flower-and-bird paintings focus on tradition, and are good at refining, vivid, brushwork and strong colors. However, the establishment of this style, that is, there is no specialty in artistic expression, but also brings some limitations. While learning from them, Li Kui also got rid of the shackles of French style and established his own artistic personality. The shining veteran cadres in "Golden Autumn Shining" reflect abnormal and orderly fruits, and the composition is plane distribution, which abandons the big background and breaks through the taboo of ancient law. Because of the enhanced painting effect, the audience can enter the theme of painting and feel the shining spiritual world. He weakened lines and strengthened colors, forming his own "new meticulous painting" and giving birth to "modern boneless painting". Qing Qi, which is mainly based on new meticulous painting, is actually "modern boneless". It completely abandons the use of lines to outline, expresses objects in stains, and even has the momentum of ink painting freehand brushwork. But also give full play to the exquisite expressive force of the contrast transformation of cold and warm colors, so Li Kui is advocating and promoting "modern boneless painting". This style comes from the traditional meticulous painting, but it enriches the color, strengthens the unified tone and increases the sense of light. With the new techniques and language skills in the new meticulous flower-and-bird painting, the color and rhyme are further liberated from the double-hook ink line, and the attainments are elegant and lyrical. From Bright, Life, Qiu Yan and Morning Dew, we can see that his modern boneless method is a combination of work and writing, wireless boneless, consistent and harmonious color, strong and soft light, rich and unique texture, refined and holy emotion, which gives full play to the characteristics of boneless flower-and-bird painting. From "new meticulous painting" to "modern boneless painting", Li Kui updated the visual effect of flower-and-bird painting through the disappearance of lines and the display of light and color.

Wang Guanghua has been engaged in flower-and-bird painting for nearly 20 years. Compared with tradition, his works have changed in artistic conception. Some works are gorgeous, such as Begonia Bird, Camellia Pigeon and Cao Zhou Peony. Others are more elegant and lively, such as the epiphyllum in the rhyme of white jade and the lotus flowers scattered in the green space. The picture is relatively open, paying attention to the background of the environment, and the artistic conception is quiet and far-reaching. In "Endless Life", the author grasps the larger scene and deals with all kinds of trees and flowers, which can benefit from simplicity and density, and has a proper relationship with the local area, without a sense of disorderly accumulation.

In the exploration of modern meticulous flower-and-bird painting, it is inevitably impacted by western painting. How to better combine with China traditional painting, absorb excellent traditions and develop their own independent personality has become the primary goal of modern painters' efforts and innovation. The inheritance and breakthrough of modern meticulous flower-and-bird painting artists have formed diversified forms of modern meticulous flower-and-bird painting, which provides a solid memorial for the future development of meticulous flower-and-bird painting.

Bibliography: Fine Arts, China Painters, Li Kuizheng Splashing Ink, Art History, Selected Works of Jin Hongjun and Chen Zhifo Paintings.