清代没骨花鸟画流派演变及其艺术特色的探析  

Analysis of the schoolevolution and artistic characteristics of Mogu flower and bird painting in the Qing Dynasty

作　　者：覃肖莹 Qin Xiaoying(Liuzhou City Vocational College,Liuzhou 545036,China)

机构地区：[1]柳州城市职业学院,广西柳州545036

出　　处：《纺织报告》2025年第2期130-132,共3页

摘　　要：清代是中国历史上文化高度繁荣的时期,尤其在绘画艺术领域,花鸟画达到前所未有的高度。在这一时期,作为一种独特的技法,没骨花鸟画得到了广泛的实践和深刻的探索。文章旨在阐述没骨画的起源,梳理清代没骨花鸟画各大流派的演变及其艺术特色,重点讨论常州画派、宫廷画派、扬州画派、海上画派和岭南画派的艺术风格,并着重说明这些流派的代表性画家如何推动没骨技法的成熟与创新,同时还从技法、造型表现、艺术思想与审美等多维度入手,分析清代没骨花鸟画的艺术特征,揭示这一艺术形式在中国画史上的重要地位及其深远影响。Qing Dynasty was a period of high cultural prosperity in Chinese history,especially in the field of painting art,where flower and bird painting reached unprecedented heights.During this period,as a unique technique,Mogu flower and bird painting received extensive practice and profound exploration.The article aims to elaborate on the origin of Mogu painting,sort out the evolution and artistic characteristics of various schools of Mogu flower and bird painting in the Qing Dynasty,focus on discussing the artistic styles of Changzhou school,Palace school,Yangzhou school,Shanghai school and Lingnan school,and emphasize how representative painters of these schools promoted the maturity and innovation of Mogu techniques.At the same time,it also analyzes the artistic characteristics of Mogu flower and bird painting in the Qing Dynasty from multiple dimensions such as techniques,form expression,artistic ideas and aesthetics,revealing the important position and profound influence of this art form in the history of Chinese painting.

关 键 词：清代 没骨花鸟画 起源 流派演变 艺术特色 

分 类 号：J232.9[艺术—美术]