论文部分内容阅读
中国花鸟画萌芽于魏晋时期,至唐时形成独立的画科。到了宋代,花鸟题材受到社会各阶层的普遍欢迎,花鸟作品无论技法还是意境营造都远胜于前代。宋人郭若虚指出:“若论佛道、人物、仕女、牛马,则近不及古。若论山水、林石、花竹、禽鱼,则古不及近。”宋代花鸟画的繁荣与当时的历史文化关系密切,而与宋徽宗赵佶的特殊作用也密不可分。正是在他当政期间,花鸟画达到前所未有的高峰。他本人的绘画实践及审美思想对宋代及其后的绘画都产生了重要影响。
Chinese flower and bird painting sprouted in the Wei and Jin dynasties, and formed an independent painting section to the Tang Dynasty. By the Song Dynasty, the theme of flowers and birds was universally welcomed by all walks of life. Flowers and birds works are far better than their predecessors, both in terms of technique and artistic conception. Guo Ruo-feng pointed out: “If Buddhism and Taoism, character, ladies and cattle, it is less than the ancient .If the landscape, Lin Shi, bamboo, poultry, the ancient less than the past.” Closely related with the history and culture at that time, and with the special role of Zhao Huo Song Huizong are also inseparable. It was during his administration that flower and bird paintings reached an unprecedented peak. His own painting practice and aesthetic thinking have had a significant impact on the painting of the Song Dynasty and later.