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中国花鸟画的萌芽状态,可以追溯到原始社会时出现在器物上的花鸟形象,到两汉六朝时期已初具规模。东汉陶仓楼上的壁画《双鸦栖树图》是已知最早的独幅花鸟画。魏晋南北朝一些画家以花鸟为主题的创作,在著录中已不属少见。唐代时,花鸟画发展为独立画科,并开始走上成熟阶段。唐代著名的花鸟画家有薛稷、边鸾,鞍马画家有曹霸、韩干等。花鸟画至五代、北宋完全成熟。五代以黄筌、徐熙为代表的两种花鸟风格,表明中国画家已能通过不同的选材和不同的手法,分别表达或富贵或野逸的审美意趣。本文根据历史资料及实践总结以及结合对孙克弘的《玉堂芝兰图》的临摹过程中总结的经验心得浅析花鸟画从古至今关于布局的一个演变过程和趋势。
The budding state of Chinese bird and flower painting can be traced back to the images of flowers and birds appearing on artifacts in the primitive society. By the time the Han and the Six Dynasties period had begun to take shape. Upstairs in the East Han Dynasty pottery mural “double crow habitat tree map” is the earliest known single flower and bird painting. Some painters in the Wei, Jin and Southern and Northern Dynasties, with their theme of flowers and birds, are not uncommon in their writings. In the Tang Dynasty, the flower and bird painting developed into an independent painting department and began to mature. The famous flower and bird painters in the Tang Dynasty were Xue Ji, Bianba, and pommelists Cao Cao, Han Gan and others. Flowers and birds to five generations, the Northern Song Dynasty is fully mature. Five styles of flowers and birds represented by Huangpi and Xu Xi in the Five Dynasties show that Chinese painters have been able to express their own aesthetic interest in or wealth or Yeh Yi through different materials and different approaches. Based on the historical data and practical summary, and combined with the experience gained in the copying process of Sun Yek-il’s “Yutang Zhilan”, this article analyzes the evolution and trend of the layout of flowers and birds since ancient times.