论中国花鸟画写意性的发展规律

An Inquiring into the Expressive Quality of Chinese Flower-and-Bird Painting

唐末五代前后出现的中国花鸟画 ,以写形、写实为主 ,画史称之为工笔花鸟画。随着花鸟画的不断发展与完善 ,这种工笔花鸟画必然被体现作者精神追求、个性渲泄的写意花鸟画所取代。其写意精神的形成肇始于元代 ,渗透于明代 ,完成于明末清初 ,到今天已成为一种必然。因此 ,中国花鸟画从写实、写形向写意性的发展是一条基本的规律 ,画史上对花鸟画工笔写意的界定是不合理的 ,应不受其束缚而进入中国画写神、写心、写情的自由王国。

Chinese flower-and-bird painting came into being in the end of the Tang Dynasty and the Five Dynasties.It was characterized by the brushwork and close attention to detail,by which popular Chinese painting theory defined it as traditional Chinese realistic painting.However,its center increasingly converted to expression of painters' spiritual pursuit so that the expressive quality turned out to be its overwhelming feature.When we try to trace the development of this expressive quality in painting history,we may find it showed up in the Yuan Dynasty,spread in the Ming Dynasty and completed in the end of the Ming Dynasty and the Qing Dynasty,As a matter of fact,the expressive quality has been taken its shape in the development of Chinese flower-and-bird painting,which is exceptional to the popular theory of Chinese flowerc-and-bird painting.Accordingly,from the viewpoint of the author,it should be defined as kind of typical Chinese expressive painting,which is characterized by its spiritual connotation.