在写意花鸟画的千年传统文脉中,以花鸟草木寓兴传神,观物取象以写逸趣,凝聚了写意精神的神髓。写意花鸟画的当代拓展,更将中国传统画论中“造物”、“造化”的理念,与西方哲学对于“万物”概念的阐述相融合,增益与丰富了传统笔墨物象的内涵。通过这种以小窥大、见一叶而知秋的观察、描述与呈现方式,花鸟画艺术的创作理路连同其方法论,都构成了画家对于自然、对于“物”的主体化观照。此次在正观美术馆呈现的“齐物见心——当代中国写意花 In the traditional cultural traditions of flowers and birds of the thousand year tradition, vivid images of birds and plants, images of objects and objects are used to write and enjoy the memories, and the soul of freehand spirit is condensed. The contemporary expansion of freehand flowers and birds paintings even incorporates the concept of ”creation “ and ”creation “ in Chinese traditional painting theory with the elaboration of the concept of ”all things “ by western philosophy, which enhances and enriches the traditional brushwork Connotation. Through such observation, description and presentation of the autumn as a glimpse into the world, the creation of flowers and birds painting, together with its methodology, constitute the artist’s subjective view of nature and of ”things.“ The present view of the Museum of Fine Arts ”Everything in the world - the freehand flower of contemporary China