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广义而言,花鸟画题材几乎同人类早期文明相伴而生。当然,在漫长的萌芽期,花鸟的造型是朴拙甚至是幼稚的,主要限于装饰或记事功能,尚无独立的审美意义。随着社会文化的发展,受“比德”美学思想的影响,花鸟画得以长足发展。孔子说:“岁寒,知松柏之后凋也。”荀子亦日:“言念君子,温其如玉。”于是“梅、兰、竹、菊”四君子异军突起,花鸟画终于在宋元大放异彩。经历代画家的努力实践,无论是院体还是文人画,都取得了令人瞩目的成就,显示了强大的艺术魅力。但是,由于笔墨题材的高度程式化和局限性,花鸟画的发展创新无疑给当代画家以严峻的挑战。“歌谣文理,与世推移。”在这信息、经济和文化全球化,艺术多元化的时代,古代那种近于避世的“君子独善其身”的审美思想,那种“逸笔草草,不求
Broadly speaking, the theme of flowers and birds is almost accompanied by the early civilization of mankind. Of course, during the long period of infancy, the bird’s shape is simple and even naive. It is mainly limited to decoration or memo functions, and there is no independent aesthetic significance. With the development of social culture, influenced by the aesthetic thought of ”Bei De“, the flower and bird painting has developed rapidly. Confucius said: ”old cold, withered pine and cypress withered.“ ”Xunzi also day: “ words read a gentleman, Wen Ruru. ”So“ plum, blue, bamboo, chrysanthemum ” Song and Yuan shine. Experienced the efforts of contemporary artists, both body and literati paintings, have made remarkable achievements, showing a strong artistic charm. However, due to the highly stylized and limited writing themes, the development and innovation of flowers and birds undoubtedly pose a serious challenge to contemporary artists. “In the era of information, economic and cultural globalization, art diversity, the ancient kind of” Not grass