花鸟画传统的动态演变与发展可能

Dynamic Evolution and Development Possibility of Flower-and-Bird Painting

中国花鸟画的发展史,是以写生为基础,以寓兴、写意为归依,历经了几个重要时期的演变。五代时期形成了"皇家宝贵,徐熙野逸"的两大流派,标志着花鸟画已进入成熟阶段。进入宋元时期,花鸟画从主要强调客观五项的真实再现和满足视觉上的愉悦转变为以现实物象为载体来表达画家的精神感受,逐步完成从"写实"画风向"写意"画风转变。明清两代是中国写意画真正确立和大发展的时期。近代画坛涌现一些极具独特画风的大家,使得中国写意花鸟画出现了许多新的不同面貌。在西方文化思潮的冲击下,一批有志于中国画革新的画家,努力从西画中吸取营养,以表现新的时代精神。中国花鸟画的发展之路决不是全盘西化,也不能生硬地与西方现代艺术"接轨",这是最起码的、不可逾越的发展底线。面对当下中国这一大变革的时期,对中国花鸟画传统在现今乃至以后继续变革与发展方向的思考,是极其紧迫的、必要的。

The history of Chinese flower-and-bird painting experienced several important evolutions. The two major schools in Wudai Period -- ＂royal splendor＂ and ＂XuXi＇ s wildness＂ -- marked that the flower-and-bird painting had entered a mature stage. In Song and Yuan dynasties, flower-and-bird painting changed from objective reappearance and visual enjoyment into ex- pression of painter＇s spiritual feeling, gradually completing the change from ＂realistic style＂ to ＂freehand style＂. Chinese free- hand painting was truly established and developed greatly in Ming and Qing dynasties. With the emergence of some unique mas- ters in modem painting, many different new aspects appeared in Chinese freehand flower-and-bird paintings. Under the impact of western culture, a group of artists who are interested in the innovation of traditional Chinese painting try to absorb nutrition from western painting to show the spirit of the new era. The development path of Chinese flower-and-bird painting is by no means west- ernization. In the current period of great transformation in China, it is extremely urgent and necessary to consider the reform and developing direction of Chinese traditional flower-and-bird painting at present and in the future.