在多数人的印象中,古典花鸟画是在唯美、自然的景致中抒发文人的闲情雅兴或寄予品格心性。的确。花鸟画在独立成科之初就被赋予了“粉饰大化”、“与诗人相表里”的创作规范,“抒情性”成为历代花鸟画家普遍的创作动机,同时古典花鸟画还有一个被忽略的关照现实的传统。自花鸟画成科至清代,传世花鸟画作品多为宫廷御用画家们绘制,题材规范于自然化的情景,以祥和富贵、愉悦性情的基调作为创作模式,这种由黄荃所树立的花鸟画审美标准直到北宋仁宗时期的崔白才有所改 In most people’s minds, classical flower-and-bird paintings express the literati’s ease of expression or the character’s character in aesthetic and natural scenery. indeed. The flower and bird painting was endorsed as the creative norms of “Dahua Dahua” and “the poet in the same table” at the beginning of its independence, and “lyricism” became the common creative motivation of flower and bird painters of all ages. Birds and flowers there is a neglected care of the reality of tradition. Since the flower and bird painting became a branch from the Qing Dynasty to the Qing Dynasty, most of the flower and bird paintings handed down by the court were mostly drawn by court painters. The subject material was standardized in the naturalized scene. With the theme of harmony, wealth and pleasure as the mode of creation, Painting aesthetic standards until the Northern Song Dynasty Renzong Cuizai only changed