清代花鸟绘画“传神”理念之嬗变  

The evolution of the"vivid"concept of flower and bird painting in the Qing Dynasty

作　　者：黄倩倩 HUANG Qianqian(Academy of Fine Arts,Yunnan Normal University,Kunming Yunnan,650500,China)

机构地区：[1]云南师范大学美术学院,云南昆明650500

出　　处：《豫章师范学院学报》2021年第3期24-26,128,共4页Journal of Yuzhang Normal University

摘　　要：花鸟画自唐代起便独立成科,发展至宋代为花鸟画的高峰时期,而直至清代又一次出现了嬗变。“传神”理念作为我国传统绘画美学精神的重要内容,衍变至清代后,在复杂背景中更丰富了花鸟的“传神”表达与运用。了解清代的几位重要画家、理论家对此时花鸟领域中“传神”观念的绘画特征至关重要。Flower and bird painting has been an independent branch since Tang Dynasty.It developed to the peak period of Song Dynasty,and there was another evolution until Qing Dynasty.As a part of the spirit of traditional Chinese painting aesthetics,the concept of"vividness"evolved into the Qing Dynasty,and has rich application and expression of"vividness"of flowers and birds in the complex background.To know several important painters and theorists at this time To is very important to analyzes the contextual characteristics of the"vivid"concept in the field of flowers and birds at this time,and constructs the rich connotation and extension of the"vivid"concept in flower and bird paintings.

关 键 词：清代 花鸟画 传神 嬗变 

分 类 号：J209.2[艺术—美术]