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在中国写意花鸟画发展史上,陈淳与徐渭并称“青藤白阳”。陈淳确定了大写意花鸟画的基本格局,徐渭在其后继承其大写意形态,将大写意花鸟画推向顶峰。研究陈淳花鸟画构图特征的成因有助于对整个花鸟画发展史的构图语言形式的嬗变进行把握,从而进一步全面了解陈淳的花鸟画艺术特色在整个中国花鸟画发展序列中的意义与特征。
In the history of the development of the freehand flower and bird painting in China, Chen Chun and Xu Wei also said that “Ivy White”. Chen Chun identified the basic pattern of the freehand bird and flower painting. Xu Wei inherited its big freehand brushwork pattern and pushed the uppercase flower and bird painting to its peak. The study of Chen Chun’s compositional characteristics of flowers and birds helps to grasp the transmutation of the compositional language form of the history of flower and bird painting so as to further understand the significance and characteristics of Chen Chun’s artistic features of flowers and birds in the development sequence of Chinese bird and flower painting.