花鸟画自唐代独立分科到明清的大写意水墨画的出现,经历了几次重大变革。从唐代的花鸟写生到五代两宋的花鸟画,又经历元代的短暂过渡,终于形成了明清以大写意为基本格局的传统,并影响至今。在这之中,中国的传统花鸟画在视觉形式上明显经历了由重写生到写意的变化过程。其间的笔不碍墨、墨不碍笔、笔墨交辉的风尚的确是一种突破,这种突破加强了写意性在画面的作用,为明清的水墨大写意画风开辟了一条新路。明清两代是花鸟画最活跃的时代,作品的思想容量,以及艺术样式的丰富,表现手段的多变,即作品中形、神、意三位一体的完整性结合所产生的含蓄与内涵,为花鸟画的传统添加了更深刻的意义。 Birds and flowers since the Tang Dynasty independent sub-division to the Ming and Qing dynastic ink paintings appear, has undergone several major changes. From the flower and bird sketches of the Tang Dynasty to the flower and bird paintings of the Five Dynasties and the Song Dynasties, they went through the brief transition of the Yuan Dynasty and finally formed the tradition of the capitalist pattern as the basic pattern in the Ming and Qing Dynasties. In this process, the traditional Chinese flower-and-bird paintings have clearly undergone a process of change from rewriting to freehand writing. In the meantime, the pen does not impede the ink. The ink does not interfere with the pen. The style of pen and ink is indeed a breakthrough. This breakthrough has strengthened the role of the freehand on the screen and opened up a new road for the brushwork of the Ming and Qing dynasty. The Ming and Qing dynasties are the most active times of flower and bird painting. The ideological capacity of the works, as well as the richness of artistic styles and the changeable means of expression, namely, the implication and connotation produced by the integrity of the Trinity of form, The tradition of flowers and birds adds even more significance.