文档介绍：山东师范大学硕士学位论文中文摘要中国花鸟画独特的绘画语言和审美特性,具有符合自身发展的规律。在中国绘画史上,明代无疑是花鸟画发展具有转折意义的时期——宫廷院体花鸟淡化了两宋清雅高古的气息,逐渐走向变格;文人水墨花鸟题材选择和内容表现逐渐开始反映社会生活,在特定的人文思潮下发生着审美的社会化趋向。这些变化体现了绘画本体发展的规律和积极动向,极大地拓展了花鸟画的表现空间。明初期花鸟画在承袭宋代的宫廷院体风格的基础上,力求体现出不同于前朝的时代特色:审美意趣在富丽堂皇中渗入世俗格调,风格样式混融或呈多样化发展,具有更多的叙事性、写意性和平民气息。明中期花鸟画的转变集中体现在“吴门画派"为代表的画家群体中,清逸出世的文人花鸟画变得雅俗共赏,并进一步普及和世俗化。明代末期,水墨大写意花鸟画情绪抒写因素逐渐加强,完成了由“以形写形”到“以形写意”的转变,向综合方向发展,并在画坛占据了强势的主流地位。随着政治、经济形势的变革以及自身发展的完善,明代花鸟画在院体衰弱与水墨写意继起的两极中展开雅俗共赏之新貌,从高雅精英逐渐向平民世俗方向发展,流风所被,一直影响到清代的扬州画派及海派绘画体格,使中国古代花鸟画实现了真正意义上的审美转向。本文以这个特定时期社会审美风尚的转捩为切入点,把有关明代花鸟画的文献资料和作品与其他朝代的作品进行比较,分析,梳理,从中国花鸟绘画自身发展的动力和社会环境的影响内外两方面,论证了这种现象在转折期的积极作用和消极影响。关键词:明代花鸟画院体花鸟画文人花鸟画世俗化审美取向山东师范大学硕士学位论文 Abstract Chinese flower and birdpainting unique and aesthetic properties oflanguage with itsown development in painting inthehistory oftheMing Dynasty the meaning ofbird-development period oftransition—the court house birdbody todilutethehiIgh elegant ancient Song oflife,gradually weakening and variable grid;literati inkpainting flowers and birdsinparticular the humanities and socialthoughtplace inthe context ofaestheticvariation, the choice ofsubject matter and content toreflecttheperformance inregard tochanges insocial changes reflectthedevelopment ofthe law ofbody painting and active movements, which greatlyexpanded thebird’Sv耐ormance space. The early bird out ofthepalace intheSong Dynasty inherited housebased on thestyle to reflect the characteristics ofthetimes isdifferentfrom theformer:the harm inthe magnificent style ofinfiltration ofsecular,styles,or diverseMixdevelopment’a more number of narrative,impressionistic style,and medium-term changes inbird and flower painting areembodied inthe”Wuschool",represented bygroups ofartists,writersbom‘type bird to Shen Zhon,Wen Zhengming intotastes,Yin took thebird to, Anglophobia further secularization lateMing Dynasty,freehand ink big pleted by the “write—shaped—shaped”to”intended to write toform”the changes