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从五代的黄荃、徐熙到宋代的文同、牧溪,从明代宫廷画家的林良、吕纪到清末岭南画派的居巢、居廉,从近代海派的吴昌硕到现代的齐白石,中国花鸟画一直稳健地发展着。 但是在中国画在经历了中西融合的变革之后,尤其在中国社会的都市化进程中似乎失去了演进的方向。人们对花鸟画印象往往是:它只是农业社会慢节奏的生活方式的产物,只适合表现闲情
From Huang Quan and Xu Xi of the Five Dynasties to Wen Tong and Mu Xi in the Song Dynasty, from Lin Liang and Lu Ji, court painters of the Ming Dynasty, to Juchao and Lian Lian of the Lingnan School of Painting in the late Qing Dynasty, from Wu Changshou in modern Shanghai to Qi Baishi in modern times, Flowers and birds have been steadily developing. However, after Chinese painting has undergone the transformation of Chinese and Western fusion, it seems that it has lost its direction of evolution, especially in the process of urbanization in Chinese society. The impression people often have on flowers and birds is that it is only a product of the slow-paced lifestyle of agricultural society,