On the basis of the thirty-seven painting circles in Ming Dynasty, Lin Liang initiated flower-and-bird painting, combining meticulous painting with freehand brushwork, showing the new features of flower-and-bird painting with strict laws, breaking the aesthetic stereotype of flower-and-bird painting in Ming Dynasty in one fell swoop, showing a rough, elegant and unrestrained new aesthetic purport, and becoming a pioneer of freehand brushwork in Ming Dynasty. Lin Liang (date of birth and death is unknown, about 1426- 1495), a famous painter in Ming Dynasty, was born in Nanhai, Guangdong Province (now Nanhai District, Foshan City, Guangdong Province). He is good at drawing flowers, fruits and feathers, and his colors are simple and light. He was a representative painter of flower-and-bird painting in Ming Dynasty, and spent some time in the Palace Painting Academy. "Goose Tour Picture Axis" and "Song He Picture" stand out: Lin Liang is the first painter who entered the national mainstream in the history of Guangdong local painting. Generally speaking, after the demise of the Southern Song Dynasty, most court painters were scattered around the coast. Inherited the shadow of imperial paintings in the Southern Song Dynasty, most court painters in the Ming Dynasty came from Zhejiang, Fujian, Guangdong and other places. In this artistic atmosphere, there are occasional inevitability, and there are also typical cases in which Lin Liang finally emerged as a Guangdong painter. In the discussion of traditional painting with literati painting as orthodoxy, the historical materials of court painters are almost scattered records, and Lin Liang is no exception. The Annals of Liang Lin and Yue compiled by Huang Zuo during the Jiajing period of Ming Dynasty is the most comprehensive, only a few hundred words, which roughly outlines several important nodes in his life: Lin Liang, who is good at words and a native of the South China Sea. Not so smart, treat you as a poor secretary. You can make feathers, and people have never been surprised by your clever thinking. Jin Chen painted under a pseudonym, and Liang criticized the merchants. Gold anger, want to tart it. Being good at trying to write from Chen Qineng and Jin was amazed by God, and since then he has become famous among the gentry. When painting flowers and plants again, the music is wonderful. Although they were ancestors of Huang Quan and Bian Jingzhao, they became a family because of their ups and downs and domineering tendency. At the beginning, Yan painted landscapes, and the magistrate He Yinshan was both a native teacher and a studious person. I was afraid of sects alone and said, God is so interesting to me. It is a simple sketch, but it is not as good as the work of feathering flowers and plants. Later, I paid homage to the camp of the Ministry of Industry, which had a great relationship. I went straight to Renzhi Hall and went to Wei Jinyi Town instead. Good at teasing and chanting, he has been immersed in the cream of scholars and was deeply impressed at the beginning of the poem. He Jingfu, the imperial envoy of Beijing, is agile, drinking and singing with him every day, or writing hundreds of poems in an instant. Because he is a brother, the good reason is that the name is favorable. Once outstanding painters: Ma Yuan, Liu Jian, Zhong Xuefang, Spring Grass, Donkey, and later great painters were all careless, so they might as well be famous. From this point of view, Lin Liang, who is full of youthful spirit, is famous for his outspoken wild words, which is somewhat biased. Jin Chen, his boss, copied a famous painting, and Lin Liang, who was watching, couldn't help his poor painting skills, so he boasted that the copying was useless. Jin Chen, who became angry from embarrassment, wanted to give this little subordinate a slap in the face, but Lin Liang took the opportunity to say that his painting level was good, so Jin Chen, who calmed down, felt it was easy to say that you could come, and Lin Liang was unambiguous, and it was a slap in the face, which surprised Jin Chen. Sure enough, experts knew at first hand whether Liang Lin had any brushwork, so Jin Chen, who was deeply touched, was amazed and became an instant hit. Lin Liang's popularity proves that opportunities belong to those who are prepared. Before that, he had a solid foundation and good attainments in painting. In his early years, he studied landscape painting from Yan Zong, a well-known local painter, and figure painting from He Yin, a magistrate. However, judging from Lin Liang's handed down works, landscape figures are not his unique skills, but he pioneered flower-and-bird painting. It is speculated that Lin Liang may not be a formal apprentice, but may just learn brushwork from them privately, get to know them and master them, so as to achieve perfection in flower-and-bird painting. As a professional painter, "Phoenix Map" and "Birds Singing and Flowers Fragrant" were undoubtedly the ultimate dream to enter the Palace Painting Academy under the social and cultural environment at that time. However, due to his superb painting skills, Lin Liang entered the Palace Painting Academy about a few years later, and soon stood out in the Palace Painting Academy with his excellent painting skills. Soon after, "seizing the hall of benevolence and wisdom, changing the imperial guard" entered the peak of his artistic creation. In this golden age of artistic creation, Lin Liang not only left many excellent works, but also made friends with ease. He made friends with many royal ministers in the imperial court, such as Jing Fu, Cheng Xiao, Li Dongyang, Han Yong, Qiu Zhuo, Bian Rongda, Wu Kuan, and so on. They left many poems about Lin Liang's paintings, which shows that Lin Liang was well received at that time. From Cheng Xiao's poem "Drinking with Lin Jinyi in the rain hall on the platform at noon, Lin Chengxing waved a fan and pulled out a book for him", we can see: I remember every afternoon in the former dynasty, I often wandered in front of the mountain. The colorful silk suit gives people a new feeling, and the sketches are all written by Lin Liang. Dinghu Dragon Tour lasted nine years, and Lin Jun and I each had one day. In the Western Regions Guild Hall, people suddenly got together, and the afternoon sacrifice was all dead. Old favors are not repaid, but Wan Li loves Danque. After a while, the wine started to sweep the bright moon for me. Xu Jun's paintings are fascinating, and a sum of money can really be 1000 yuan. It's just how much I cherish your kindness and friendship. In addition, Li Mengyang has a sentence of "Lin Liang only writes birds in ink", Han Yong also has a poem of "People say that sketching is clever, but I speak good words", "An ancient art can be passed down from generation to generation, and you are versatile", and Qiu Zhuo has a poem of "Huang Quan writes birds and flowers, and the spirit is beyond all shapes". Lin Liang's situation in his later years is unknown, so he should spend the rest of his life in peace. Kau Lam, his son, inherited the family law. After seven years of Hongzhi, he called the world's painters for selection, ranking first in the suburbs, and was awarded the title of Wei Jinyi Town Governor in Wuyingtang. Judging from the hereditary system of the Royal Guards, Lin Liang should have died after the seventh year of Hongzhi (1494). "Flower and Bird" and "Peacock Picture" have unique charm: from understanding the interest of ink painting to creating a freehand brushwork school, Lin Liang's paintings that shine brilliantly in the history of flower and bird painting in the Ming Dynasty are not groundless, and its style cannot be determined until it is formed in the history of painting. However, from the perspective of handed down works, it is one of them to integrate the styles of Huang Quan and Xu Xi and learn from the elements of "painting with books" in the academy paintings and literati paintings of the Song Dynasty. Compared with Bian and Bian, who are also famous for their flower-and-bird paintings, the creative style of connecting the preceding with the following is obviously more respected by literati. His works create a brand-new aesthetic language with a sense of ink layering, realize the beauty of balance and harmony between meticulous painting and freehand brushwork, and change the rigid and stubborn aesthetic formula in court painting. As Li Mengyang said in his poem, Lv Ji has a bright future after painting birds for a hundred years. The second son seems to be unskilled, so suck a pen to make a hair. Lin Liang only writes birds in ink, but he is half-scanning. Waterbirds and land birds are wonderful, and all the houses are moving. As far as the creation of court paintings in Ming Dynasty is concerned, because of the autocratic aesthetic will of emperors, the double magpies are quite different from the charming charm of college paintings in Song Dynasty, but they are keen on the aesthetic taste of vigorous art. Lin Liang's meticulous flower-and-bird painting is the perfect embodiment of this aesthetic will. His masterpiece Birds in the Shrubbery is a typical embodiment of this style. Brush and pen are connected together, and the momentum is like a rainbow. This seamless giant structure embodies the characteristics of Lin Liang's brushwork incisively and vividly. It will use the priorities of pens, the shades of pen and ink, and the continuity of composition in one go, making it broad and subtle, spreading the whole scene layer by layer, and carefully dyeing and writing everywhere. The wild birds in the painting, such as sparrows, goshawks, deer geese, Western jackdaw in the west, pheasants and magpies, have different shapes, or perch on branches or fly high, full of vitality and ingenuity. The panoramic composition makes this grand and distant momentum even more dazzling, thus achieving the aesthetic effect of combining form and spirit and combining meaning and rhyme in the myriad weather. Lin Liang's flower-and-bird paintings follow the realistic scenery in traditional flower-and-bird paintings, and at the same time fully tap the monotonous and rich expressive force of painting language, and devote themselves to introducing the line art of calligraphy and the characteristics of pen use, which are extremely exquisite and elegant, lead-free and simple, so that flower-and-bird paintings inject a hearty freehand brushwork style on the basis of exquisite realism, which is quite drunk. In the painting theories of past dynasties, there are many "cursive scripts can move the viewer", "You can count them at will, and if you write cursive scripts, you can be refined" and "You can write with ink, birds and trees, as vigorous as grass". This summary can be said to point out Lin Liang's artistic personality very pertinently, which shows his personality. For example, in Qing Dynasty, Han Rongguang commented on Lin Liang's Painting Two Eagles: "This painting is both freehand and vivid, aggressive and exciting. The thatched cottage was full of British wind, and the birds fled through the curtain. At first glance, this painting shows two eagles crouching on thick branches to form the center of the picture, and the whole picture looks magnificent. However, a careful observation of his brush strokes shows his originality in depicting details such as eagle mouth, eagle eye and eagle foot. The pen is sharp and delicate, and the majestic expression of the eagle is vividly portrayed. The cursive brush strokes are obviously used for reference when describing the details such as dead wood, bamboo branches and feathers in the background. Through the comparison of primary and secondary, thickness, shade and simplicity, a brand-new shocking visual impact is created. This technique of expression can be seen everywhere in many works handed down by Lin Liang, and it is also his most pioneering pen and ink technique. The freehand brushwork ink-and-wash flower-and-bird painting initiated by Lin Liang is of great significance in the history of painting. There are many painters who inherited Lin Liang's techniques in the middle and late Ming Dynasty and even in modern times, such as Shen Zhou, Chen Chun, Badashanren, Xu Wei, Yangzhou Baguai and Qi Baishi. They can all find some clues in Lin Liang. In particular, almost all the people who painted eagles later caught a glimpse of their methods from Lin Liang. Although the performance purport is different, the internal meaning of pen and ink is obviously born out of Liang Lin's ink and wash techniques, and they will draw flowers and birds in a relay way. The pheasant is full of energy. With his unique understanding and imagination of ink and wash, Liang Lin created a new style of freehand brushwork ink and flower painting, which won high praise from literati painting school while occupying the highest position in the Ming Dynasty painting circle. This position, which occupies the most amorous feelings, makes him have an indelible position in the history of painting, and realizes the consistency of expression style and aesthetic purport between Seiko and freehand brushwork, thus making him outstanding in the history of painting, enriching later generations and becoming the successor in the history of flower-and-bird painting.