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清代绘画,以花卉为最有特殊光彩。清朝初期的八大山人、石涛继续传扬明代的写意意味,逆“四王”之摹古,独开蹊径,为清代的大写意形态高起点开端。清中期,随着经济的繁荣花鸟画有了具有特色的画派了,比如扬州八怪,不受院体风习所染,各自寻觅,机趣天然。晚期的海派三任、吴昌硕追求意境、志趣、情感表达,传承变异,一改晚清花坛纤弱糜颓之势,给传统花鸟画注入强劲活力,使大写意花鸟画成为最具民族特色的绘画形式之一。
Qing Dynasty paintings, with flowers as the most special luster. In the early Qing dynasty, Badashan continued to preach the freehand meaning of the Ming dynasty. On the contrary, the “four kings” of the Qing dynasty had their own unique ways of starting from the high starting point of the Qing dynasty. In the middle of the Qing Dynasty, with the prosperity of the economy, the birds and flowers were painted with distinctive paintings, such as the Eight Eccentrics in Yangzhou. In the late three years of Shanghai school, Wu Changshuo pursued the artistic conception, interest, emotional expression and inheritance variation, and changed the weakness of the late Qing Dynasty flower beds, which injected strong vitality into the traditional flower-and-bird painting, making the painting with the most characteristic flowers and birds as the painting form with the most national characteristics one.