菊花鹌鹑图在讨论明代花鸟画时,早期美术史论家习惯上将边文进、吕纪的黄筌体、林良之写意派和周之冕的钩(勾)花点叶派相提并论,认为这三个流派是构成这一时期花鸟画的主流,后来的美术史论者大多沿袭了这种论点。虽然也有个别的专家提出明代花鸟画系统应分为以杜大成、陈粲、陈遵等为代表的写生派、以边景昭、吕纪、陆治、孙隆、孙克弘、李辰等人为代表的临古派、以林良、陈淳、徐渭为代表的写 Chrysanthemum quail map In the discussion of the Ming and Qing Dynasty flower and bird painting, early art historians customarily put the text into the side, Lv Ji Huang 筌 body, Lin Liangzhi’s freehand school and Zhou’s crown hook (hook) Constitute the mainstream of flowers and birds paintings of this period, most of the art historians later followed this argument. Although some experts also proposed that the Ming and Qing Dynasty flower and bird painting system should be divided into the sketch school represented by Du Dacheng, Chen Xun and Chen Zun, represented by Bian Jingzhao, Lu Ji, Lu Zhi, Sun Long, Sun Kehong, Li Chen and others Pro ancient school to Linliang, Chen Chun, Xu Wei as the representative of the write