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中国花鸟画在历史发展过程中,缘物寄情,托物言志始终是其具有的典型特征。这也是它逐渐形成以写生为基础,以工笔或写意为表现方法的原因。花鸟画的创作与欣赏体现着人们的志趣、情操与思想追求,更是适应我国人民社会审美需要的结果。唐代李正封“国色朝酣酒,天香夜染衣”的诗句,概括了牡丹以其雍容华贵、富丽堂皇的形态,被作为兴旺发达、美好幸福的象征含义。现为清华大学美术学院当代艺术创作研究生班学员的杨丽凤,她
In the process of historical development, the flower and bird painting in China has always been the typical characteristic of the fate of the objects and the fetish. This is also the reason why it is gradually formed based on sketching and writing by means of calligraphy or freehand writing. The creation and appreciation of flowers and birds paintings embody the people’s interest, sentiments and ideological pursuits, and are the result of adapting to the aesthetic needs of our people’s society. In the Tang Dynasty, Li Zhenglian embraced the verses of “nationality towards the dying wine and the fragrance of the night”, which summed up the symbolic meaning of the peony as its flourishing and beautiful happiness with its graceful and magnificent appearance. Yang Li-feng is currently a student of the Graduate School of Contemporary Art at Tsinghua University