潘天寿说:“凡事有常必有变。常,承也;变,革也,承易而革难。然常从非常来,变从有常起,非一朝一夕偶然得之。”这是用辩证的观点来论及中国画继承与发展的关系,至今,对我们仍然有用。中国画这一独特的艺术形式,有着自己的一套完备结构、手段和形式。最具特点的是以笔墨为其艺术语言,以线条、点划为其基本的语言符号,花鸟画亦然。也就是说,这当中有着自身的发展规律。如果我们吸收现代艺术认识的观点,从花鸟画抽象性方面的因素和特征这一角度去解读其发展过程中规律的逻辑线索的话,也许更能明确当今花鸟画生存的发展空间,而且它告诉我们一个事实, Pan Tianshou said: “There are always things that must change. Often, Cheng Ye; change, leather, easy and leather. But often from the very come, change from time to time, not happen overnight.” This is used Dialectical point of view to discuss the relationship between inheritance and development of Chinese painting, so far, still useful to us. Chinese painting, a unique art form, has its own complete set of structures, means and forms. The most characteristic is the pen and ink as its artistic language, with lines, dotted as its basic language symbols, flowers and birds of the same. In other words, this has its own law of development. If we absorb the viewpoints of modern art and interpret the logical clues of laws in its development from the perspectives of the abstract aspects of flower and bird painting, we may be able to clarify the space for the development of today’s flower and bird painting and tell us A fact