继两宋院体花鸟画发展的高峰后,由于文人的大量介入,元代花鸟画无论在题材内容还是表现手法与形式意味及美学精神方面都产生了巨大的变化。文章认为元代花鸟画家自我意识和艺术本体意识的双重觉醒是促成这种转变的根本原因,文章对两种意识的内涵及其在元代花鸟画艺术中的表现进行了分析和论述,进而阐明了其对明清文人写意画的大发展与中国“写意性”绘画艺术精神的形成具有不可替代的价值和意义。 Following the peak of the development of flower and bird paintings in the two Song dynasties, there has been a tremendous change in both the subject and the content, the means of expression and the means of aesthetics, and the aesthetics of the Yuan Dynasty, due to the large number of scholars involved. The article argues that the dual awakening of bird and flower painters’ self-awareness and artistic noumenon in Yuan dynasty is the fundamental reason for this transformation. The article analyzes and expounds the connotation of the two kinds of consciousness and their performance in the art of flower and bird painting in the Yuan Dynasty. It has irreplaceable value and significance to the great development of the freehand painting of the literati in Ming and Qing Dynasties and the formation of the Chinese “freehand” spirit of painting.