中国传统花鸟画艺术从写生到工笔、写意的创作演进  

Evolvement from Sketching,Fine Brushwork to Freehand Brushwork of Traditional Chinese Flower and Bird Painting

作　　者：郭大兴[1] 

机构地区：[1]南京艺术学院美术学院,江苏南京210013

出　　处：《艺术百家》2016年第2期176-180,共5页Hundred Schools In Arts

摘　　要：文章通过阐述花鸟画写生对工笔、写意艺术的影响转化,说明花鸟画家在不同历史时期的艺术变化和艺术追求。着重以黄筌、徐熙、徐渭为主要代表的两种绘画手法说明写生对工笔、写意艺术生发的重要性和精神超越,论述花鸟画由写生走向工笔和写意是中国画审美品格的最终再现。花鸟画艺术的形成与发展是古代艺术家智慧的结晶,是与老庄艺术精神的完美结合,是古代先贤对天、地、人自然关怀、观照的完美体现,是艺术家自身艺术性创造的自然生命和精神的超越。This paper illustrates the artistic transformation and pursuit of painters of flower and bird painting through the interpretation of the evolvement from sketching, fine brushwork to freehand brushwork. Taking Huangquan, Xuxi, and Xuwei as the representatives, this paper illustrates the significance of the generation of fine brushwork and free- hand brushwork and their spiritual transcendence, and discusses that the evolvement from sketching, fine brushwork, to freehand brushwork is the ultimate representation of the aesthetic quality of Chinese painting. The generation and advancement of flower and bird painting is the ancient artists＇ wisdom, and also a perfect integration of Laozi and Zhuangzi spirit, and a perfect reflect of ancient people＇ s concern and contemplation to the heaven and the earth, to human and nature, and it is the transcendence of natural life and spirit.

关 键 词：中国花鸟画 绘画创作 写生 工笔 写意 艺术作品 艺术精神 

分 类 号：J2[艺术—美术]