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清季以降,花鸟画一直处在一个“式微”状态,尤其吴昌硕、齐白石之后,花鸟画就一个调儿,懵懵懂懂地走到他们那一条——而且似乎仅此一条的大写意的路子上去了。吴昌硕可贵在强调金石味,但金石味这些东西并不是人人都能有的,也不是每一个人都能这样的大气派。而传统花鸟画中蕴藉的雅逸之趣,这种关于文化品位的探索,越来越被忽视了。在这众多的人当中,我唯一看好的是黄宾老的花鸟,但黄宾老的山水、画论等等的盛名,却掩盖了他在花鸟画上的至高成就,所以没有得到更多人的重视。而且黄宾老的精力也有限,他没有更多的精力去对花鸟画做更深的探索,他的许多传世作品大都还是一种类似稿本的即兴之作。
In the Qing dynasty, flowers and birds paintings have always been in a state of “micro”, especially after Wuchang Shuo and Qi Baishi, birds and flowers were transferred to them one by one - and it seems that only one of them It’s Wu Changshuo valuable emphasis on stone flavor, but the stone flavor of these things are not available to everyone, not everyone can such an atmosphere. The traditional flowers and birds paintings in the elegant taste, this exploration of cultural taste, more and more overlooked. Among these numerous people, my only favorite is Huang Bin’s old birds and flowers, but Huang Bin’s old landscapes, paintings, etc. have masked his supreme achievement in flowers and birds painting and have not got more people The importance of. And Huang Bin’s old energy is also limited. He did not devote much energy to further exploring flowers and birds paintings. Most of his works were still improvised in similar manuscripts.