Since flower-and-bird paintings became an independent category in the Tang Dynasty, they have, with their unique aesthetic charm and philosophical connotations, grown into an indispensable art form in traditional Chinese ink painting. Originating in a rigorous and meticulous style and excelling in realism, they later moved toward freehand brushwork. Through the free expression of brush and ink, they gradually transcended the mere reproduction of objective forms and rose to become a medium for artists to facilitate dialogue between their souls and nature.

During the Xuanhe era of the Northern Song Dynasty, two distinct artistic traditions—the "sumptuous style" and the "unrestrained style"—emerged, each reaching extraordinary heights. On one side was the exquisite and magnificent style of Huang Quan, favored by imperial painting academies; on the other was the elegant literati sentiment embodied in Xu Xi’s works. Both traditions excelled in their own right and together laid the foundation of the early aesthetic paradigm for flower-and-bird paintings. Artists of the Yuan Dynasty later drew on the essence of both schools and integrated their strengths. With the steady evolution of brush-and-ink techniques, numerous great masters emerged during the Ming and Qing dynasties, leaving behind a wealth of fine surviving works.

In modern times, the vicissitudes of the era spurred a transformation in flower-and-bird paintings, endowing them with stronger contemporary appeal. For example, Wu Changshuo infused his works with forceful brushwork reminiscent of bronze inscriptions and stone carvings, creating paintings of profound vigor; Qi Baishi, meanwhile, infused his art with innate charm—he incorporated the vivid vitality of folk life into freehand flower-and-bird paintings and pioneered the distinctive "red flowers and ink leaves" style. Their artistic practices not only carried forward the traditional cultural lineage but also bestowed upon flower-and-bird paintings a strong sense of individuality and contemporaneity, ensuring that the genre retained vibrant vitality in the process of modernization.

In 1957, the Beijing Academy of Traditional Chinese Painting (now officially named the Beijing Fine Art Academy) was founded, bringing together outstanding talents from Beijing’s art circle. Guided by the literary and artistic policy of "letting a hundred flowers bloom and bringing forth new ideas from the old," flower-and-bird paintings embraced new development opportunities. After China’s reform and opening-up, profound transformations occurred in the brush-and-ink language, creative mindset, and artistic expression dimensions of flower-and-bird painting creation. The dynamic social environment inspired artists’ creativity, and the uplifting social atmosphere, combined with a relaxed creative mindset, led many artists to enter a peak period of their creative careers.

Looking at flower-and-bird paintings created since the founding of the People’s Republic of China, one can see that they not only inherit the profound national cultural heritage but also boldly explore modern visual expressions. Balancing "integration with the times" and "upholding tradition," they have forged an artistic form that embodies both the ethos of the times and the charm of tradition. Artists convey their emotions through brushwork and express their inner thoughts via imagery—forging the spirit of the era amid the flourishing of diverse art forms and reflecting the national aura in the flow of brush and ink.

The Beijing Fine Art Academy and the He Xiangning Art Museum have maintained close exchanges and cooperation for many years. On the occasion of the new year, the Beijing Fine Art Academy has carefully curated outstanding flower-and-bird paintings from its precious collection for this exhibition. The exhibition is divided into three sections:

"Spring Harmony and Bright Vistas" focuses on the transition from winter to spring. It captures the vitality and charm of spring in the warm winter sun, revealing the beauty of life and the allure of the seasons;

"Auspicious Birds Amid Blossoms" draws on auspicious flower-and-bird themes, conveying emotions through imagery and imparting good wishes and humanistic feelings;

"Magnificent Chapters of the Flourishing Age" integrates individual emotions into the narrative of the times. Through the grand compositions and spiritual symbols in flower-and-bird paintings, it exemplifies the developmental vitality and cultural confidence of contemporary China.

May these vivid flower-and-bird paintings transcend the geographical divide between northern and southern China, enabling us to celebrate the Spring Festival together with audiences in Shenzhen and co-create the splendid chapters of our era.