From "Huang's Wealth" to "Xu Xi's Wildness": An Exploration of the Differences between the Two Major Schools of Flower and Bird Painting in the Five Dynasties

In the glittering canyon of Chinese art, flower and bird painting from the Five Dynasties period (907-960) undoubtedly stands as a shining star. Breaking free from its subordinate role as a backdrop to figure painting during the Tang Dynasty, it became an independent discipline and established two aesthetic systems that have remained inseparable for millennia: the " Huang Family's Wealth " exemplified by Huang Quan , and the " Xu Xi's Wildness " exemplified by Xu Xi .

This isn't just the coexistence of two styles; it's the embodiment of two different attitudes and philosophies. For us today, whether as art enthusiasts, collectors, or those seeking inspiration for space decoration, understanding the differences between these two schools is a crucial step in delving deeper into the depths of Chinese painting. And when it comes to the art of copying , grasping its essence is the soul of re-creation.

1. Two Peaks Standing Side by Side: Historical Background and Aesthetic Core

The emergence of the "Huang-Xu Yi-Style" was no accident. During the chaotic Five Dynasties and Ten Kingdoms period, the Central Plains was ravaged by war, while Western Shu (Huang Quan) and Southern Tang (Xu Xi) enjoyed relative stability, becoming havens for culture and art. The distinct atmospheres of the courts and literati in these two regions fostered distinct artistic tastes.

Huang Jia Fugui (Huang Quan) : Serving the Western Shu imperial court, his works were designed to satisfy the aesthetic tastes of the royal family and aristocracy. His subjects were often rare and precious flowers and rocks, as well as auspicious animals and birds found in the palace , such as golden pheasants, peacocks, and peonies. His aesthetic core was meticulous craftsmanship and grandeur , pursuing a transcendental, idealized perfection and luxury.

Xu Xi's Wild and Unrestrained Style (Xu Xi) : A recluse of the Southern Tang dynasty, he detached himself from the imperial court and wandered the world of rivers and lakes. His paintings primarily depicted wild flowers and bamboos, waterfowl and fish , ducks and geese, reeds, and fruits and vegetables. His aesthetic is characterized by a simple, fresh, and unrestrained style , emphasizing the natural qualities of his subjects and the lyrical expression of his brushwork.

2. Three fundamental differences in copying practice

For the copyist, reproducing these two styles requires a complete transformation from technique to concept. This is not only a technical challenge, but also a change of mindset.

1. Line Work: Hidden and Visible

Huang Quan - "Hidden traces, established forms, meticulous and exquisite" :
The Huang School employs the meticulous "outline and fill" technique . Fine, strong lines are first used to precisely outline the subject, followed by layering of color until the lines are covered and blended with the color, almost "hiding." This "boneless" painting method pursues the ultimate accuracy and fullness of the subject's form . Imitating the Huang School requires a calm mind and steady brushwork, demanding exceptional modeling skills.

Appreciation of Jiuzhou Moge's copied works : This museum's copy of Huang Quan's "Sketch of Rare Birds" from the Five Dynasties period is a prime example of this. Carefully examine the bird's outline: the fine yet powerful lines perfectly support the structure, harmoniously unified by the rich colors, capturing the graceful presence of these rare birds in the imperial gardens.

Xu Xi - "The ink is the pattern, the brushstrokes are not hidden" :
Xu Xi pioneered the " drop ink method ." He used thick brushstrokes and thick ink to depict branches, leaves, stamens, and calyxes, even layering the color and ink. Even after lightly applying color, the traces of brush and ink remain clearly visible , even becoming the dominant element in the painting. Lines themselves possess independent aesthetic value, imbued with the rhythmic rhythm of calligraphy. Imitating the Xu style requires boldness and meticulousness, prioritizing the expression of meaning rather than the depiction of form, and pursuing a free and unrestrained flow of brush and ink.

Appreciation of Jiuzhou Moge's copied works : For example, this museum's imitation of Xu Xi's "Snow Bamboo"—though not a direct imitation—captures the essence of "ink drop." The ever-changing shades of ink applied to the bamboo stalks and withered leaves, combined with the free and unrestrained brushstrokes, evoke the artist's free spirit, creating a highly decorative and modern aesthetic.

2. Color Application: "Richness" and "Elegance"

Huang Quan - meticulous and colorful painting, layer upon layer of rendering :
The Huang School employed rich, vibrant colors , using mineral pigments (such as azurite, malachite, and cinnabar). Through repeated application of the "three alums and nine dyes" technique, the resulting colors were thick, rich, and opaque, creating a visually striking and highly decorative effect that complemented the imperial splendor.

Xu Xi - Mainly ink and wash with light colors :
The Xu School emphasizes "color does not interfere with ink, and ink does not interfere with color ." Using ink as the base, plant-based pigments (such as indigo and gamboge) are applied lightly where necessary to maintain the transparency and freshness of the colors . This "light crimson" style embodies elegance and a scholarly flair.

3. Artistic Conception: Reproduction and Expression

Huang Quan - Representing Objectivity and Pursuing Perfection :
Like gifted naturalists, Huang School painters aim to faithfully reproduce the form, texture, and even the expression of their subjects. Their artistic conception is outward-looking , a comprehensive celebration of the beauty of the external world and a celebration of the power of life.

Xu Xi - Expressing the mind and expressing emotions :
Xu School painters are lyrical poets whose paintings express their aspirations through objects . They use natural objects to express inner loneliness, indifference, and wild charm . Their artistic conception is inward-looking , and the audience feels not only the beauty of flowers and birds, but also the painter's personal charm and spiritual world.

3. How to choose for your space? Collection and decoration guide

Understanding these two schools of thought can help you make the most artistic choices for different living and commercial spaces.

Choose the "Huang Jia Fugui" style copy if:

Your space is luxurious and grand in style (such as a villa living room, hotel lobby, or corporate chairman's office).

You want to create a luxurious, grand and festive atmosphere.

You appreciate the exquisite details, exquisite craftsmanship and rich colors.

Choose "Xu Xi's Wild and Unrestrained" style copying if:

Your space tends to be Zen, minimalist, and elegant (such as a study, tea room, cafe, designer studio).

You pursue a tranquil, indifferent and natural temperament, hoping to relax and reflect in it.

You prefer the charm of ink painting, the strength of brushstrokes and the artistic conception of blank space.

Conclusion
"Huang Family Wealth" and "Xu Xi's Wildness," one complex, the other simple, one intense, the other light, are not superior or inferior, but differ only in their realm. Together, they constitute the richest aesthetic dimension of Chinese flower and bird painting. Jiuzhou Moge meticulously respects the original's techniques and spiritual core in reproducing each copy, striving to provide you with not only a decorative item but also a tangible and engaging piece of history and art.

Whether you are attracted by the splendor of the palace or love the free and easy life of the rivers and lakes, this beauty that spans thousands of years is worth cherishing in your life.