Bian Jingzhao, Zi Wenjin, a native of Shaxian County, Fujian Province. During the Yongle period, together with Jiang Zicheng and Zhao Lian, he was known as the "Three Absolutes in the Forbidden", and was the founding father of the Ming Dynasty's yuan school of flowers and birds, and Lü Jidu once took him as a teacher, and was even known as "the one who was the last person in the Song and Yuan Dynasties". He is a painter of flowers and birds with great influence in the Ming Dynasty painting academy.
Bian Wenjin is knowledgeable and able to write poetry, painting flowers and birds to pay attention to the characteristics of flowers and birds, and can capture the flowers and birds laughing and flying. In the history of painting, it is said that his paintings are "the laughter of flowers, the sound of birds, the anyway of leaves, and the implication of buds, not only are they powerful, but their ink is inappropriate."
He is good at flowers and fruits, pays attention to the portrayal of the gods, the shape is simple and cheerful, light and fine, and the color is bright. He is also very good at depicting cranes, because the crane symbolizes the auspicious meaning of crane life for a thousand years and crane celebration. His representative works include "Double Crane Diagram", "BaixiTu Axis", "Lixitu Axis", "Wuluntu Axis" and so on.
Bian Wenjin's flower and bird paintings inherit Huang Quan's "magic in color, with the pen is very new and fine", but also borrowed from the late Song Painting Academy Seiko realistic flowers and birds plus relaxed tree and stone scenery, with the pen heavy color method, thickness and thinness, Yan ya and elegance, simple and elegant, in the work of gorgeous and beautiful and beautiful and particularly revealing the graceful and simple weather, and finally formed a self-appearance.
His paintings were not only appreciated by the emperors, but also very popular with the princes and nobles, and were popular among the upper class. During the Yongle years, he had become a famous painter in the court, and in the first year of Emperor Xuanzong's reign, Bian Wenjin was more than 70 years old, and he was still waiting for the Wuying Palace. Even at the age of 80, he was still summoned to the Beijing Division and enshrined in the Court Painting Academy.
The second volume of the History of Silent Poetry once recorded that he "offered to the inner temple between Xuande and was even favored by the Lord's dependents (even favored by the emperor)." The flowers and feathers he painted are extremely craftsmanship and are on a par with Lü Ji. ”
Bian Jingzhao's gongbi flower and bird paintings are different from the delicate and soft paintings of the Northern Song Dynasty and different from the blind vigor of the Southern Song Dynasty paintings, and are different from the reclusive style of flower and bird paintings in the Yuan Dynasty, and his gongbi flower and bird painting works are neat and beautiful, the composition is atmospheric, the colors are elegant and rich, the brushwork is both thick and thin, the painting environment is broad and powerful, and a new style of ming dynasty flower and bird painting has been created.
He went deep into life, carefully observing the physical characteristics of objects, and a picture could depict a variety of birds and birds. The shape of birds and birds is simple and bright, vivid and changeable, and the hook line, color and ink are very exquisite, and the ink color is moist and elegant, which is calm and stable.
From Bian Jingzhao's works, we can not only see the exquisite skills of his artistic creation, but also feel the profound artistic accomplishment and cultural accumulation. Bian Jingzhao's Gongbi flower and bird paintings are typical representatives of the Ming Dynasty court flower and bird paintings, which have the role of inheriting the past and enlightening the future.
He not only inherited the meticulous style of flower and bird painting of the two Song dynasties, but also integrated the landscape painting technique into the flower and bird painting, breaking the boundary between gongbi and freehand, and richly expressing the expression of gongbi flower and bird painting. He is a landmark painter in the history of flower and bird painting