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当代中国画领域,山水、人物画创作成绩斐然,花鸟画则相对逊色,特别是写意花鸟画有建树者更寥寥几无。事实上,这个问题并非复杂,原因是传统写意花鸟画成就最高,从陈淳、徐渭、八大、石涛以及“扬州八怪”直至任伯年、吴昌硕、齐白石、潘天寿等,将写意花鸟画推向艺术巅峰。尤其是八大以狂怪奇特简练造型,开掘花鸟画自由精神；吴昌硕则以金石书法的内力弥漫出拙厚、雄强、深醇的花鸟生命；齐白石又将花鸟带入人与自然无限的感情世界；潘天寿另辟蹊径一味霸悍地表现花鸟顽强力量。因此,座座艺术高山仰止。那么,当代花鸟画该向何处?一批有志画家为此而普苦探索。有回归古意传统,强调主观意愿,强调书写性任意洒脱,拉开与自然距离,而这
In the field of contemporary Chinese painting, landscape painting and portraits have achieved remarkable success while flowers and birds painting have been relatively less developed. In particular, there are few, if any, handicraftsmen who have created flowers and birds paintings. In fact, the problem is not complicated. The reason is that traditional flowers and birds are the most accomplished. From Chen Chun, Xu Wei, Bada, Shi Tao and “Eight Eccentrics in Yangzhou” until Ren Bainian, Wu Changshuo, Qi Baishi and Pan Tianshou Art peak. In particular, the eight to strange and concise style crazy, digging the spirit of freedom of flowers and birds; Wu Changshuo is the inner force of the stone filled with thick, strong, deep alcohol life; Qi Baishi and birds and birds into the world of human and nature unlimited feelings ; Pan Tian Shou another way blindly tyrannical performance of birds and flowers tenacious strength. Therefore, seat art alpine Yangzhi. So, where are the contemporary flower and bird paintings? Returning to the ancient tradition, emphasizing subjective wishes, emphasizing the ease of writing freely, opened with the natural distance, and this