| Pic: | Qian Xuan - Early Autumn.jpg |
| Piccap: | Early Autumn, 13th century, perhaps by the Song loyalist painter Qian Xuan. The decaying lotus leaves and dragonflies hovering over stagnant water are likely a veiled criticism of Mongol rule.[1] |
| Picsize: | 350px |
| T: | 花鳥畫 |
| S: | 花鸟画 |
| P: | huāniǎo-huà |
| Kanji: | 花鳥画 |
| Romaji: | kachō-ga |
| Hangul: | 화조화 |
| Hanja: | 花鳥畵 |
| Rr: | hwajohwa |
| Mr: | hwajohwa |
| Qn: | Hoa điểu hoạ |
Bird-and-flower painting, called in Chinese, is a kind of Chinese painting with a long tradition in China and is considered one of the treasures of Chinese culture.[2] The was named after its subject matter. It originated in the Tang dynasty where it gained popularity, matured by the end of that period and during the Five Dynasties and Ten Kingdoms period,[3] and fully reached its peak during the Song dynasty.[4] Most paintings belong to the scholar-artist style of Chinese painting. In the coming centuries, the genre gained popularity and spread throughout the East Asian cultural sphere. It also had an influence on Iranian painting in the genre of illustration for book covers and illuminated manuscripts.
See main article: List of Chinese symbols, designs, and art motifs.
According to Chinese tradition, the covers "flowers, birds, fish, and insects" ; thus, it can deal with a wide range of natural topics, including flowers, fish, insects, birds, pets (dogs, cats), etc.
The paintings are inspired by the resilience and the beauty of the flowers and birds found in nature. The intended purpose of the was not simply imitate nature, but to use different painting styles to convey the personality and ideas of the artist. In Chinese culture, different types of birds and flowers held their own symbolic meanings; with some of them even holdings auspicious meanings, scholarly and human virtues, as well as principles.
Scholars-artists, in particular, developed a freehand-style painting as a mean to express their emotions and considered Chinese calligraphy and poetry as being an integral component of their painting by giving their ares with a deeper spiritual meaning.
The is proper of 10th century China; and the most representative artists of this period are Huang Quan (c. 900 – 965), who was an imperial painter for many years, and Xu Xi (937–975), who came from a prominent family but had never entered into officialdom.[5] Both Huang Quan and Xu Xi were masters of their two schools.
The first school, led by Huang Quan, was characterized by an "outline" method of brush work, with emphasis on bright colours filling a meticulously outline . Huang Quan used to paint based on exotic flowers, herbs, rare birds and animals which were found in the imperial gardens and palaces; his paintings were characterized by their meticulous nature as well as the bright colours. Huang Quan's painting style was thus acclaimed as .
The second school was led by Xu Xi whose paintings style became known as .His school was typically characterized with the use techniques associated with ink wash painting .[6]
These two schools would have important influences on paintings of the later centuries.
According to painting technique:
Bird-and-flower painting was introduced to Japan during the 14th century, and then to Korea. The bird-and-flower motif started appearing in Japanese art around the Muromachi period during the 14th century, and developed its own distinct style. It also entered ukiyo-e woodblock printing, where it was known as kachō-e (花鳥絵). Especially the shin hanga movement produced a number of works with this motif starting in the Meiji era. Artists working with this were Ohara Koson (1877–1945) and Ito Sozan (1884–?), as well as Imao Keinen (1845–1924).[7] [8]