在书坛画界,“创新”大概是最热门的话题,从古至今,自艺术批评发生以来,新与旧的争论一直没有停止过,艺术正是在这无尽无休地争论中发展起来。作为三大画科之一的花鸟画自然也不例外,尤其是近几十年,同山水、人物画相比问题较为突出,“中国画变革难,花鸟画更难”逐渐成了一种共识。所以对花鸟画的研究显得尤为重要,引起花鸟画家和理论家的普遍关注。 人们不会忘记六七十年代的新水墨人物画运动有人把之称为中国传统绘画的第二次具回归(第一次指北宋绘画的求真图理)。这应该是中国绘画发展史上的重大变革,随着西学日渐,人物画又从刚刚树立起来的“新水墨人物”形象中游离出来,代之而起的是新文人笔戏和形变、建构意识的确立。山水画正是在这种形变、建构中完成了对以往程式的突破。现在流行的“疏、”“密”二体,制作成份的增加都说明了这一点。这种倾向是对是错暂且 In the calligraphy world, “innovation” is probably the hottest topic. Since ancient times, the controversy between the new and the old has never ceased since the appearance of artistic criticism. It is in this endless debate that art has developed. As one of the three major art subjects, flowers and birds are of course no exception. Especially in recent decades, the problems with landscape painting and figure painting are rather prominent. It has become a consensus that “Chinese painting is harder to transform and flowers and birds are harder to paint”. Therefore, the study of flowers and birds is particularly important, causing widespread concern of flower and bird painters and theorists. People will not forget that the new ink painting figure movement in the 1960s and 1970s called it the second return of traditional Chinese painting (for the first time referring to the truth-seeking pictures of the Northern Song Dynasty paintings). This should be a major change in the history of the development of Chinese painting. With the gradual deepening of Western learning, figure painting has been freed from the image of the “new ink figure” that has just been set up. Instead, it has been replaced by the penmanship and distortion of the new literary style and the construction of consciousness establish. It is in this kind of deformation and construction that the landscape painting completed the breakthrough of the previous program. Now popular “sparse,” “dense” body, the increase in production ingredients illustrate this point. This tendency is right and wrong