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The early Ming Dynasty emperors who favored the patronage of the arts are the biggest contributors to the development of flower-and-bird paintings in the court (宮廷花鳥畵) from various styles of previous school branches. The characteristic features of flower-and-bird paintings in Ming Dynasty court can be categorized by “the colored flower-and-bird painting”, “flower-bird and landscape paintings” and “nature and imaged flower-and-bird painting.” These diverse aspects of the flower-and-bird painting in the early Ming Dynasty were closely associated with two phenomena: One is the formation of the Imperial Painting Academy (宮廷畵壇), and the other is the interaction with scholar-gentry (文人士大夫). Most of the court painters in the early Ming Dynasty were from the southern part of the Yangtze River (揚子江), including Zhejiang (浙江), Fujian (福建), and Jiangsu (江蘇). A considerable number of the Southern Song court painters disassembled in these areas when the dynasty perished. When these painters reunified, they carried forward the style of the flower-and-bird paintings from the Ming Dynasty court as an influx of the previous dynasty’s academic painting style in response to the imperial taste. Bian Wen-jin (邊文進), a leading early Ming Dynasty court painter, led the fashion of the splendid shade of color in the colored flower-and-bird painting while still having command of the concise literati style based on his interaction with the scholargentry. His works, thus, can be evidence that the flower-and-bird painting in the court was painted in diverse styles from the beginning. Lin Liang (林良) and Lu Ji (呂紀) both founded a new composition in painting, called flower-bird and landscape paintings, but Liang painted it as imaged flower-and-bird paintings using monochrome ink (水墨寫意花鳥畵), and Ji’s works are painted as the colored flower-and-bird paintings (彩色花鳥畵). This style, indeed, began in the Yuan Dynasty (元代) and became more complex in Liang and Ji’s era. This complex aspect has a close relationship with the landscape painting style of the Zhe School (浙派), which was rampant in the contemporary era. Sun Long (孫隆)’s paintings reveal a different style from that of the Imperial Painting Academy. The subject matter of his paintings originated from the grass-and-insect paintings of his hometown, Piling (毘陵). His paintings deliver extempore images of objects using a new style of brushwork that can accentuate colors without outlines as watercolor sketches. Long’s simple brushwork is on the same line of paintings from nature in the Song and the Yuan Dynasty. His attempt also was a precursor to a style of a painting from nature and imaged flower-and-bird painting, which was mainly developed during the Jiangnan area, after Long’s era. Judging from the representative works of official painters from the Ming court, the flower-and-bird painting in the court inherited the themes, techniques and compositions from the paintings in the earlier dynasties. Consequently, the flower-and bird paintings, which contain various painting styles, met the demands of the new Ming Dynasty era. Furthermore, considering the point that the flower-and-bird paintings in the Ming Dynasty allowed painters not only to work both academic and literati styles of paintings but also to bridge painters from the front and rear eras, it is worthwhile to examine the paintings in the art historical context.