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Bird-and-flower painting by Cai Han and Jin Xiaozhu, c. 17th century.. The huaniaohua is proper of 10th century China; and the most representative artists of this period are Huang Quan (哳㥳) (c. 900 – 965), who was an imperial painter for many years, and Xu Xi (徐熙) (937–975), who came from a prominent family but had never entered into officialdom.
Zhou Hongchou (1914–1981), a native of Dadaocheng, Taipei, was a painter of Japanese-style art during the 1930s. She was celebrated alongside other female artists of the time, such as Chen Jin (painter). Zhou's works primarily focused on floral and bird themes, with a particular expertise in depicting plants like orchid and Nymphoides ...
"Flowers and Birds in the Snow" 1765. Hanging scroll; color on silk. Kobe City Museum. Sō Shiseki (宋 紫石, 1715 – 9 April 1786 [1]) was a Japanese painter of the Nagasaki and Nanpin schools. Originally from Edo, he spent some time in Nagasaki, where he studied under the Chinese painter Song Ziyan, who was known as Sō Shigan in Japanese.
The mogu bird-and-flower motif experienced a resurgence through Yun Shouping's works and school of art. [ 2 ] Yun Shouping was initially a landscape painter, but he was reportedly so impressed by the works of the artist Wang Hui that he abandoned his training in favor of flower, animal, and insect paintings. [ 1 ]
During the period of the Five Dynasties and Ten Kingdoms period, a painter named Huang Quan (黄筌) from Former Shu significantly developed the techniques in bird-and-flower painting, especially in painting trees and flowers, and his painting was called as the fine-sounding name Mogu Huazhi (沒骨花枝). [citation needed]
Huang Quan (903–965), courtesy name Yaoshu, was a Chinese painter during the Five Dynasties period and the Song dynasty who worked in the imperial painting academies of the Former Shu, Later Shu and Song dynasties. Along with Xu Xi, Huang is considered a founding master of the bird-and-flower painting.
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Unsigned, the painting is attributed to de Arellano due to the wide variety of flowers scientifically portrayed, the precise underdrawing and the quite free arrangement of them with the petals (especially those of the red and white tulip at bottom left) seemingly troubled by a breeze, though the inclusion of a dahlia and orange blossom is rare ...