尽管石鲁晚年的绘画艺术对传统的技术理法和美学规范有很大的破坏,但其基于艺术语言美学的实验性和籍“花木书愤”的文人画传统对“文革美术”的社会学反驳却一直启发着后来的艺术探索者。其晚年的艺术一方面承续了新中国乃至20世纪以来“改造”中国画的思维,另一方面也体现出其“自觉”于传统文人画价值的维护与阐释,在“因”与“变”的历史大潮中强调个人化的实验性探索。文章以形式分析的方法为主对其笔墨、造型、形式构成等方面进行论证并归纳其晚年艺术实验性的表现,相信这将有助于对石鲁晚期花鸟画语言生成与意义等若干问题的理解。 Although the art of painting in the late years of Shilu has greatly damaged the traditional techniques and aesthetics norms, its tradition based on the experimentation of art aesthetics and literary tradition of “ Sociological refutation has inspired later art explorers. On the one hand, the art of its later years has inherited the thinking of ”remoulding“ Chinese painting since New China and even the 20th century, on the other hand, it also shows its ”self-consciousness“ in the maintenance and interpretation of traditional literati painting value. ”And “ change ”in the historical tide emphasize personal experimental exploration. This article uses the method of form analysis as the main method to demonstrate its writing style, form and form, and summarizes the experimental performance of its later years. It is believed that this will help to solve some problems of language production and significance of flower and bird painting in the Late Shilu understanding.