Flower and bird painting is a kind of Chinese painting. Xuan He Hua Pu in the Northern Song Dynasty. "On Flowers and Birds" said: "Poets have six meanings, and they know the names of birds, animals and herbs better, and they also remember the ups and downs of the four seasons, so the beauty of painting is more interesting here, which is different from poets." In Chinese painting, all paintings that describe flowers, flowers and birds, fish and insects are called flower-and-bird paintings. There are three painting methods of flower-and-bird painting: meticulous painting, freehand brushwork and part-time work. Fine brushwork flower-and-bird painting is to outline the moving image with thick and light ink, and then color it layer by layer; Freehand flower-and-bird painting is to draw objects in a concise and general way; Between meticulous painting and freehand brushwork, it is called part-time job. There are many flower-and-bird painters in the past dynasties, such as the crane in Snow Ji in the Tang Dynasty, the peacock in Bian Luan and the flower bamboo in Diao Guang Yin. The eagle of Guo in the Five Dynasties, the flower and bird in the grave; Flowers in Zhao Chang, birds in cypress and flowers and birds in Wu in the Northern Song Dynasty; Branches of Wu Bing in Southern Song Dynasty, flowers and fruits of Lin Chun, birds of Li Di; In Yuan Dynasty, Li Li's Bamboo, Zhang Shouzhong's Yuanyang and Wang Mian's Mei; Birds in Lin Liang in Ming Dynasty, ink flowers of Chen Chun and Xu Wei; Fish in Qing dynasty, lotus in clouds, birds in Hua Nie; Modern Wu Changshuo, Huadu and so on are all famous flowers of a generation. See "Four Gentlemen". Chinese paintings with animals and plants as the main objects. It can also be subdivided into subfamilies such as flowers, feathers, fruits and vegetables, grasshoppers, animals and scales. China's flower-and-bird paintings reflect the aesthetic relationship between China people and natural creatures as aesthetic objects, and have strong lyricism. It often expresses the author's thoughts and feelings, embodies the spirit of the times, indirectly reflects social life, and shows very distinctive characteristics in the paintings of similar themes of all nationalities in the world. Its techniques are diverse, and it can be divided into meticulous flower-and-bird painting and freehand flower-and-bird painting (which can also be divided into big freehand flower-and-bird painting and small freehand flower-and-bird painting) with delicate or unrestrained description techniques. According to the different colors of ink, it can be divided into ink flower-and-bird painting, splash-ink flower-and-bird painting, colored flower-and-bird painting, sketch flower-and-bird painting and boneless flower-and-bird painting. As early as in the primitive society where there was no clear division of labor between craft, sculpture and painting, China's flower-and-bird painting had sprouted, but it only took shape in the Han, Wei and Six Dynasties. Two Crows in the Tree, an upper mural of the Eastern Han Dynasty pottery barn collected by Nielsen and Ai Jing Art Museum in the United States, is the earliest known single flower-and-bird painting. Liu Yinzu, a painter of the Eastern Jin Dynasty recorded in the Southern Qi Xie He Tu, is the first known flower-and-bird painter. After the Tang Dynasty, the Five Dynasties and the Northern Song Dynasty, flower-and-bird painting was fully developed and matured. Huang Quan and Xu Xi were two schools that appeared in the Five Dynasties. They expressed their interest in wealth or wildness through different materials and different techniques. The Northern Song Dynasty's Review of Famous Paintings of the Holy Dynasty even listed the gates of flowers and trees and animals, indicating that flower-and-bird painting had become an independent branch before this. On the basis of summarizing predecessors' creative experience, Painting Spectrum by Xuanhe in the Northern Song Dynasty wrote the first paper on flower-and-bird painting, deeply discussed the aesthetic value and social significance of flower-and-bird painting as a product of human spirit, and expounded the thinking characteristics of "showing the inside and outside with poets" in flower-and-bird painting creation. Since then, painters have come forth in large numbers, with various schools and styles. Exquisite meticulous flower-and-bird painting continues to develop, while its style is simple and unrestrained. In the Southern Song Dynasty and Yuan Dynasty, freehand flower-and-bird painting and ink painting "four gentlemen" (plum, orchid, chrysanthemum and bamboo) appeared. At the same time, line drawing flowers as the main means also came into being. With the in-depth development of freehand brushwork flower-and-bird painting represented by Xu Wei in the late Ming Dynasty, he consciously realized the transformation of painting with cursive script and strongly expressed his personal feelings. In the early Qing Dynasty, Zhu Da reached an unprecedented height. After thousands of years of development, China's flower-and-bird painting has accumulated rich creative experience and formed a unique tradition of standing on its own feet among the nations of the world. Finally, a master of flower-and-bird painting like Qi Baishi appeared in modern times. In the long-term historical development, China's flower-and-bird painting has adapted to the social aesthetic needs of China people, forming a tradition based on sketching and taking entertainment and freehand brushwork as a refuge. The so-called sketch is to convey the vitality and different characteristics of flowers and birds "abnormally and endlessly". The so-called "Yu Xing" is to convey the author's unique feelings by describing flowers, birds and plants, and to express his will by means similar to "Fu, Bi and Xing" in China's poems. The so-called freehand brushwork is to emphasize the leading role of meaning, that is, to express the author's feelings vividly like China's calligraphy art, that is, not to limit the expression of thoughts and feelings to sketching objects. Therefore, the conception of China's flower-and-bird painting is often related to personnel. Not painting flowers and birds for the sake of painting flowers and birds, nor copying nature, but firmly grasping the relationship between animals and plants and people's lives, thoughts and feelings, and strengthening performance. It not only attaches importance to reality, but also requires flower-and-bird painting to have the cognitive function of "knowing the name of a husband, a bird, a beast and a tree", attaches great importance to the expression of the concept of beauty and goodness, emphasizes its pleasant function of "grasping nature and diverting spiritual reverie", and advocates that people's interest, sentiment and spiritual life can be influenced through the creation and appreciation of flower-and-bird painting, and expresses the author's inner thoughts and pursuits. In terms of modeling, China's flower-and-bird paintings pay attention to form instead of sticking to form, and even pursue "similarity is not similarity" and "between similarity and dissimilarity" in order to express the object and show affection for the author. Highlight the main body in composition, be good at tailoring, and pay attention to the contrast between reality and reality in layout. Moreover, in freehand flower-and-bird painting, he is especially good at writing poems with calligraphy and painting style, supplemented by seals, which has become a comprehensive art form based on painting. In terms of painting methods, flower-and-bird painting is more specific and implicit than landscape painting, and richer than figure painting, so meticulous color setting is more realistic or has certain decorative significance, while freehand flower-and-bird painting is more concise, more procedural and difficult.