宋人院体花鸟画与庄子艺术精神的契合

The Correspondence of Flower and Bird Paintings in the Style of the Imperial-court Decorative Painting to Zhuangzi’s Artistic Aspiration

宋人院体画的发展已臻中国绘画史的高峰,其中翎毛花卉作品繁多,亦为后世所推崇。其于"以形写神"一路登峰造极,"刻画"之极却也为人所诟病。笔者在对宋人院体花鸟画经过反复品读后,感受其"以技进乎道"的高妙,院画家惨淡经营后,赋予画作以空灵、至美的视觉遐想,品读其中与庄子艺术精神相合的巧妙况味。

The imperial - court decorative painting in the Song Dynasty has attained a highest level in Chinese painting history, among which there are many flower and bird paintings extolled by later generations. While conveying the spirit though form in painting has reached the pinnacle, the image -depicting is blamed. After repeatedly appreciating those flower and bird paintings, the author feels harmony of techniques with Taoism, that is, the paintings are endowed with limitless association in terms of sight, and enjoys the perfect combination of the painting with Zhuangzi＇ s artspirit.