Back to CNN

The Artistry of Life

Through the ornate designs of birds and flowers, artists during the Song Dynasty created some of the era’s most important philosophical and cultural symbols.

Alongside landscape painting and figure painting, flower-and-bird painting was one of the three major genres in classical Chinese art, developing throughout the Five Dynasties period and reaching full bloom during the Song Dynasty.

While some birds and flowers were painted as part of an active depiction of the natural world, others acquired symbolic meanings when used as painting motifs.

“The painter’s choice of flowers and birds would change according to different creative contexts and viewing occasions.”

Chen Xiangfeng, Associate Professor, Central Academy of Fine Arts

In imperial decorative paintings, he adds, birds and flowers were mostly symbols of luck—ones that grew to become widely known in society, with meanings that continue to resonate today.

The Virtues Within

As artists looked more towards nature for inspiration, symbolic painting motifs using flowers and birds arose from a mixture of myths, societal allegories, current affairs, and homophones with people’s names or auspicious words.

For instance, the plum blossom, orchid, bamboo, and chrysanthemum were known as the “Four Gentlemen,” symbolizing the virtues of nobility, endurance, modesty, and integrity.

“Flowers like peonies, plum blossoms, hibiscus, and lotus often appeared, all of which carry auspicious meanings, showcasing the peace and prosperity around the country at the time because of great government leadership and political clarity.”

Chen Xiangfeng, Associate Professor, Central Academy of Fine Arts

The lotus was an especially popular flower motif, representing nobility, purity, and elegance—and epitomizing the man of virtue and an ideal moral code. The word for lotus, ‘hé’, is a homophone in Chinese with the word for ‘harmony’, and hence it also represents peace. The widespread cultural affinity for harmony and peace is evident in commonly known idioms such as ‘yǐ hé wéi guí’, or ‘harmony is the most precious thing’. Therefore, it’s not surprising that the lotus has been admired by many scholar-artists, like Song philosopher Zhou Dunyi, who wrote an ode to the lotus flower, stating the famed line, “the lotus grows out of mud but is not stained,” making it an apt metaphor for the qualities of high moral character that all should strive for.

In Lotus in Bloom, the artist breathes life into the realistic painting by contrasting the elegant flower’s rosy pink petals with stunning green leaves. Using a technique similar to the later developed ‘boneless’ method—executing color without any sign of outlining—the lotus achieves a delicate texture and sense of exquisiteness befitting its ‘gentlemanly’ character.

Depicted in Breeze over Lotus Leaves on Taiye Pond, a part of an album of paintings by Feng Ta-yu, is an event said to have taken place when a golden swan descended onto the pond at the Tai-yeh Palace. The landscape features tall and regal blooming lotus flowers painted with rich detail, from the light and dark green contrasts in the leaves to the finely painted blossoms in red and white. The harmonious composition, replete with auspicious animals and insects such as butterflies, ducks, and swallows, adds to the liveliness and vibrant atmosphere.

Breeze over Lotus Leaves on Taiye Pond

“In addition to symbolizing innocence and purity, the lotus subtly adds a layer of blessing”

Chen Xiangfeng, Associate Professor, Central Academy of Fine Arts

He explains that the homophonic ‘hé’ also brings to mind “the beauty of a harmonious family and the perfect balance of yin and yang.” He further explains that another word for lotus is ‘lián’, which is homophonic with ‘continuous’, relating to the common Chinese idiom ‘lián shēng guìzǐ’—associating the lotus’ many seeds with the blessing of ‘having many great offspring’.

Multiple auspicious symbols were brought together in the genteel scene in Lotus Pond and Waterfowl, a diptych in which a lotus cluster flourishes with poise, while two pairs of ducks and egrets glide by. Paired waterbirds are often linked to marital bliss, while ducks and egrets are said to represent the hope of passing the imperial entrance examination for government officials.

Lotus Pond and Waterfowl

Good Things Come in Pairs

The idea that things in twos are auspicious particularly lends itself to the topic of love and faithfulness in Song Dynasty artwork.

As Professor Chen explains, “‘two’ not only represents the basic structure of yin and yang from heaven to earth, but it is also a symbol of the basic form of contrast and transformation.” As there are two sides of yin and yang that mutually support and change each other, two halves of the dichotomous whole, when together, are perfect. “Hence, the appearance of pairs was given the auspicious meaning of perfection,” he says. “This is also how the Chinese idiom ‘good things come in pairs’, was coined.”

Song artists used a series of techniques to especially highlight the pairs in their work, and which—in combination with other symbols—expressed the artist’s world view and the prevailing beliefs of society at the time.

Finches and Bamboo

Plum Blossoms and Wild Bulbuls, created by Emperor Huizong—who reigned during the last 26 years of the Northern Song Dynasty (960–1127) and was particularly known for his flower-and-bird paintings—depicts two fowls on a plum blossom branch. “The pair of birds is accompanied by pairs of daffodils, symbolizing the harmonious coexistence of yin and yang,” says Professor Chen. Together with the accompanying calligraphic poetry—particularly with the poem’s mention of “hoary head” or white-headed birds, itself representing faithfulness until old age—the painting conveys a message of enduring loyalty. As Professor Chen explains, the artist uses pairs in nature to express his benevolent vision of political peace and wish for the noble character of all people.

Plum Blossoms and Wild Bulbuls
Finches and Bamboo

Emperor Huizong was also especially recognized for his ability to instill vitality into his feathered subjects—almost as if they were ready to take flight. In Finches and Bamboo, he adds drops of lacquer onto the birds’ eyes as a final touch to imbue them with a more lifelike spirit. To add another layer of meaning, says Professor Chen, birds appearing in pairs usually symbolized couples or friends.

“As [Finches and Bamboo] was painted in the style of [Emperor Huizhong’s] Xuanhe Painting Academy, it might have been influenced by imperial Taoist teachings—the political ideology of the time. Therefore, the pair of birds here may represent the Taoist worldview of coexistence, interaction and balance between yin and yang.”

Chen Xiangfeng, Associate Professor, Central Academy of Fine Arts

Different species of birds carry distinct symbolic meanings. For instance, paired Mandarin ducks represent marital bliss, while magpies symbolize long life and good fortune. One name for the magpie is xique, with xi sounding similar to the word for happiness. When shown in pairs, as seen in Cui Bai’s Magpies and Hare (the painting’s Chinese name is directly translated as a pun into ‘Double Happiness’) as well as in Birds on a Peach Branch—where they were juxtaposed with peaches representing love and fertility—magpies came to represent ‘double happiness’ and a harmonious marriage between husband and wife.

Birds on a Peach Branch
Magpies and Hare

A MOMENT IN NATURE

Song artists turned to deep observation of nature to gain knowledge of the world around them, while rulers such as Emperor Huizong particularly nurtured his imperial painters to depict subjects in high detail, prizing meticulous observation and realistic techniques that portrayed animals and flora with life and movement.

This sense of liveliness and emotion instilled in art can be seen in Li Di’s A Wintry Bird on a Snowy Tree , where the shrike is depicted with fluffy feathers and dynamic eyes, with a palpable sense of chill in the winter air. Cui Bai’s Magpies and Hare also showcases an animated scene between animals in the wild—with vivid strokes illustrating the hare’s fur and the magpie’s feathers, and the blades of grass and branches swaying dramatically, indicating the cold autumnal air.

A Wintry Bird on a Snowy Tree
Magpie and Hare
Fighting Birds

Also suggesting careful observation of nature is the evocative depiction of two fighting sparrows against a bouquet of blooms in Fighting Birds , their beaks ready to peck and wings daringly spanned out.

Another example of realistic imperial painting technique is seen in Li Di’s Red and White Cotton Rosemallow , which portrays the stunning hibiscus flower in four stages gradually turning from white to scarlet throughout the day. The petals are drawn softly yet clear-cut with a gradient of color and dazzling luminescence, while its leaves are more muted with a clearer outline.

Red and White Cotton Rosemallow

Through the abundant associations made of flower and bird motifs and symbolic meanings during the Song Dynasty, artists were able to use such motifs to express their unseen spiritual, philosophical, and even political beliefs in a subtle but widely understood way. This period gave birth to a whole new visual language that is still used today.

From tracing vernacular stories to documenting key moments in court life; daily whimsies to the most sublime of philosophical thoughts, the breadth of Song-era paintings in today’s collections reveal much about this early sophisticated Chinese society’s wealth of appreciation for the natural world around them. Explore more cultural facets in detail in the art series: The Song, Painted.

The views and opinions expressed by those interviewed are solely their own.

The Song, Painted

Explore the art
This content looks better in portrait mode
Rotate Device