Flower-and-bird painting is not only an artistic form for the ancients to express their feelings, but also reflects the artist's humanistic quality, artistic foundation and aesthetic character. Pan Tianshou, Huang, etc. Enlightened by the old school, he has a profound knowledge of Chinese studies, and his accomplishments in calligraphy are not inferior to those of his predecessors. Moreover, "not only calligraphy is ancient, but poetry is also great." Although Qi Baishi grew up in a poor family, he insisted on studying hard, learning poetry, calligraphy and painting to make up for the lack of schooling when he was young. In the end, he grew from a woodcarving carpenter and a folk painter to an artist with profound artistic accomplishment.
With the change of society, the writing brush is gradually replaced by pens, ballpoint pens and even computer keyboards. Traditional classics such as Chinese studies and calligraphy are often shelved. Many contemporary flower-and-bird painters lack humanistic cultivation and calligraphy skills, which leads to their lack of vitality, thinness, weakness and boredom, which largely deviates from the cultural core of flower-and-bird painting. In this case, how to promote the transformation of flower-and-bird painting from tradition to modernity, and how to find the best fit between tradition and modernity is a major issue facing contemporary flower-and-bird painting, and it is also the unshirkable responsibility of flower-and-bird painters. In my opinion, it is the only way for the development of contemporary flower-and-bird painting to adapt to the development of the times on the basis of inheriting the classics and constantly bringing forth the old and bringing forth the new. We can neither "forget our ancestors" nor "forget our roots".