本文从研究上海博物馆馆藏历代花鸟画精品入手,描绘中国花鸟画的演进轨迹,重点论述五代黄筌与徐熙的“富贵”、“野逸”之争,以及西蜀、南唐首设画院以来的画院内外之辩,阐明中国花鸟画的发展既得益于宫廷画院之内的院体画的延续,又受益于画院之外文人画的发展。作者考察画派衍生之变,系统剖析了明代花鸟画的四大系统,即边景昭、吕纪的黄氏体,林良、徐渭的大写意体,陈淳的简笔水墨淡彩小寓意体和周之冕的勾花点叶兼工写体;同时,揭示了花鸟画题画诗趣中之理:一为点题补景,二为完善构图,三为深化画意,四为升华情趣。由此认为上海博物馆藏历代花鸟画精品遗珍满目,托起了一部恢弘的中国花鸟画史。而一部花鸟画史是一部人类解读花鸟世界的历史,其间融入了画家、诗人的独特语汇、审美情趣和人与自然的不解之缘。 This article starts with the study of the collection of the finest bird and bird paintings in the museums of Shanghai in the past decades, and depicts the evolution of Chinese bird-and-flower painting. It focuses on the controversy between the Five Dynasties Huangpi and Xu Xi’s “The Richness” and the “Wild Yat” The debate on the art inside and outside the museum since the first art academy elaborated that the development of Chinese art of flowers and birds benefits not only from the continuity of the art within the court art academy but also from the development of literati painting outside the art academy. The author examines the changes of the school of painting and systematically analyzes the four systems of flower and bird paintings in the Ming Dynasty, namely, the bachelor ’s body of the landscapes of Bianjingzhao, Lvji, Linliang and Xuwei, Chen Qing’ The same time, revealed the birds and flowers painting the theme of the poetic in the interest: one for the point of the scene, the second is to improve the composition, the third is to deepen the painting, the fourth is the sublimation of fun. Therefore, Shanghai Museum of the past collection of flowers and birds paintings all over the treasure, hold up a magnificent history of Chinese painting of birds and flowers. The history of a bird and flower painting is a history of human interpretation of the world of birds and flowers, during which the painter, poet’s unique vocabulary, aesthetic taste and the indissoluble bond between man and nature.