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Volume 3,Issue 8

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26 September 2025

Travel with Things-A Brief Discussion on Li Wei’s Flower and Bird Painting of Northeast China

Ning Xu1
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1 Changchun Art Museum (Changchun Painting and Calligraphy Academy), Changchun 130000, Jilin, China
CEF 2025 , 3(8), 139–143; https://doi.org/10.18063/CEF.v3i8.892
© 2025 by the Author. Licensee Whioce Publishing, Singapore. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution 4.0 International License ( https://creativecommons.org/licenses/by/4.0/ )
Abstract

As an extremely important painting system in Chinas traditional art, flower-and-bird painting has become a core artistic medium for constructing and showcasing the ideal realm of harmonious coexistence between humans and nature through brush and ink, with its unique aesthetic perspective and profound cultural accumulation. Entering the 21st century, the existing themes of traditional flower-and-bird painting can no longer fully respond to the contemporary aesthetic trends of continuous evolution and diverse coexistence. Through deep exploration of regional expressions and other paths for diversified integration, it has become an inevitable trend to meet the demands of today’s visual culture. Mr. Li Wei, a master of flower-and-bird painting with profound traditional scholarship and a broad contemporary vision, exemplifies the creative transformation and innovative development of traditional freehand flower-and-bird painting in the present era, thanks to his authentic freehand techniques, rich regional characteristics, and innate aesthetic sensibility.

Keywords
Chinese painting
Regional
Esthetics
References

[1] Yu J, 1998, Classified Anthology of Ancient Chinese Painting Theory (Vol. 2): Shan Jing Ju’s Discourse on Painting Flowers, Birds, and Insects. People’s Fine Arts Publishing House, 1190.

[2] Fan B, 1998, An Outline History of Chinese Painting Aesthetics. Jilin Fine Arts Publishing House, 520–522.

[3] Sun L, 1962, Two Expositions of Sikong Tu’s “Categories of Poetry”. Shandong People’s Publishing House, 78.

[4] Zhou J, 2005, Essentials of Chinese Painting Theory: Hua Quan. Jiangsu Fine Arts Publishing House, 262.

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