黄筌画派又称黄派、黄家富贵。在中国花鸟画史上占有重要地位。它是五代花鸟画两大流派之一，成熟于五代西蜀的黄筌，光大于宋初的黄居寀。黄筌才高技巧，善于取熔前人轻勾浓色的技法，独标高格，是深得统治阶层喜爱的御用画家。其子居寀、居宝承其家风，成为两宋时占统治地位的花鸟派别。黄筌为宫廷画家，多写宫苑中的奇花怪石、珍禽瑞鸟，勾勒精细，设色浓丽，不露墨痕，所谓"诸黄画花，妙在赋色"(沈括)，画成逼肖其生，故有"黄家富贵"之称。黄派代表了晚唐、五代、宋初时西蜀和中原的画风，成为院体花鸟画的典型风格。入宋后，当时凡画花鸟无不以"黄家体制为准"。

写生珍禽图作品

 黄筌的《写生珍禽图》其表现翎毛、昆虫等自然物态的精确性及其作为艺术形象的审美趣味性，确已达到妙造自然、形神兼备的地步。黄筌还继承和发展了边鸾描写活禽生卉的传统，以优美的笔致和赋色技巧表现动植物的生动情态。据北宋沈括《梦溪笔谈》说：“诸黄画花妙在傅色，用笔极新细，殆不见墨迹，但以轻色染成，谓之‘写生’”。为了塑造花鸟的动人形象，他重视观察体会禽鸟的形态习性。后蜀广政七年(944)他奉命将淮南所赠仙鹤画于偏殿之壁，作唳天、警露、啄苔、理毛、整羽、翘足等姿态，生动逼真，该殿竟被称为六鹤殿。广政十六年黄筌又画四时花竹、兔、雉、鸟雀于八卦殿。黄筌供职宫廷画院，所见所画多为禁苑所有珍禽瑞鸟、奇花怪石，如桃花、鹰、纯白雉兔、金盆鹁鸽、孔雀、龟、鹤之类以适应宫廷欣赏趣味，因而形成一种独特风格，宋时被称为黄家富贵。

黄筌也能画山水、人物。前蜀后主王衍命他将吴道子《钟馗捉鬼图》中用食指抉鬼眼改为用拇指，而黄筌以原画全身动态及眼神具在食指而不在拇指，故不能仅作局部改动，而应重新创作的故事，说明他对古代作品的深刻理解和人物画技巧的精湛。

 综述

工笔花鸟亦称勾勒花鸟。画法则为勾勒着色法，是指在白描的基础上，加以色彩渲染而成。从用笔分，又可分为单钩与双钩，风格显得巧密而精细。

唐代表现

工笔花鸟在唐时已独立成科。初唐薛稷之画鹤，中唐边銮之画禽鸟和折枝花，均时称一绝。滕昌佑之画鹅、梅及折枝花卉，下笔轻利，敷彩鲜研，亦冠及一时。尤其是刁光胤，其“体制精绝”的工笔花鸟为黄筌所宗，直接推动了五代花鸟画的繁荣。

黄筌是中国花鸟画历史上一位极为重要的画家。他与徐熙被誉为“黄家富贵，徐熙野逸”，即相对于徐熙的“落墨法”而言。黄筌画花鸟，先用墨笔作精细的勾勒描绘，再敷以色彩。如果墨线被色彩掩盖，则再以色彩复勾；显得浓丽精工，旨趣浓艳，极为富丽。故其技法称之为“勾勒填彩”。画风则显得旨趣浓艳，颇有“富贵”之趣。这些，从他流传的《写生珍禽图》中均可一睹其风采。

 到了北宋，直接师承黄筌并有卓越成就者要数黄居采。他的花鸟，先以极工细坚挺的线条勾勒轮廓，然后敷以重彩层层晕染，使之物态形象极为逼真，色彩富贵华丽，与黄氏体制风格类同。

此后的赵昌、崔白、吴元瑜、赵佶等花鸟画家，在黄筌父子画法的基础上都有所发展。赵昌、吴元瑜极重写生，所绘花鸟形象更为生动逼真，极具生气。崔白不但重视写生，而且用笔勾线更为轻盈，与黄居案过分严谨刻板的画风相比，显得更为生气勃发。

花鸟画发展到了南宋，承继这一画派的著名画家有李迪、李安忠、林椿、吴炳等。所作花鸟用笔精细，设色典雅，形态逼真，富有生气。元代的工笔花鸟较前代的又有变化。代表画家有钱选、王渊、边鲁、陈琳和张中等。钱选师承赵昌，然其创作变“院体”的工丽细密为清润淡雅，极富文人气质。王渊、边鲁所作花鸟，不似黄筌的工整富丽而变得简逸秀淡。而陈琳、张中突破了宋“院体”细密工丽的程式为粗疏简率。这一方面由于文人画的影响，另一方面也是水墨写意画风冲击的结果。

明代的工笔花鸟，由于明前期“院体画派”的影响，创作呈繁荣昌盛的景象。他们在师承宋人和黄筌父子工笔重彩的基础上，形成了形象准确、技法谨严、色彩艳丽的风格，其中又以边景昭和吕纪成绩最为突出。两人所作工笔花鸟，形态各异，飞鸣欢跃，悉尽神态，传神入妙，敷色鲜艳富贵而沉着不艳，布局皆合法度而不乱，极具写生造化之妙。

工笔花鸟发展到清代，成绩突出者尚有王武，蒋廷锡、沈铨、邹一桂等人，另有“海派”中的任薰、任熊、任伯年。有些画家除画工笔花鸟之外，参作水墨写意一类，然其个性风格显然不如明代及明代前那样突出。

 代表人物

黄筌历任前蜀、后蜀，官至检校户部尚书兼御史大夫；入宋，任太子左赞善大夫。早以工画得名，擅花鸟，师刁光胤、滕昌佑，兼工人物、山水、墨竹。山水松石学李昪，人物龙水学孙位，鹤师薛稷撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，钩勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。黄筌多画宫中异卉珍禽，徐熙多写汀花水鸟，故有“黄家富贵，徐熙野逸”之谚，据《梦溪笔谈》说：“诸黄画花，妙在赋色，用笔极精细，几不见墨迹，但以五彩布成，谓之写生。”对后世花鸟画影响极大。又因黄筌及其子居居宝、居寀，弟惟亮等画格调富丽，遂成为北宋初翰林图画院优劣取舍标准，被称为“院体”。画迹有《桃花雏雀图》《海棠鹁鸽图》等349件，著录于《宣和画谱》。传世作品有《写生珍禽图》卷，绢本，设色，纵41.5厘米，横70厘米，用笔严谨、清练，设色华丽，形象刻画生动逼真，不愧为稀世珍宝，有“付子居宝习”五字填款，现藏故宫博物院；《雪竹文禽图》册页藏台北故宫博物院。子居实、居宝、居山皆善花鸟，传其家学。

人物生平

黄筌(约903～965)，中国五代西蜀画家。字要叔，成都（今四川省成都市）人，主要活动在后蜀(925～965)时期。他17岁时即以画供奉前蜀后主王衍。后蜀先主孟知祥即位后，授他为翰林待诏，权翰林图画院事。后蜀后主孟昶时，赐金紫，加官衔为如京副使。供职西蜀画院，先后达40年之久，图画殿庭墙壁，宫闱屏幛不可胜纪。后蜀降宋之年(965)，来到宋京城汴梁（今河南省开封市），即年病死，享年当在80岁以上。黄筌在中国古代花鸟画发展史上占有重要地位。他13岁时就从刁光胤学画，善于综采诸家之长：鸟雀师刁光胤，山水师李升，龙水、松石、墨竹师孙位，皆能曲尽其妙。不但学力博赡，而且能自出新意，不蹈袭他人陈迹。特别是花鸟画方面，他能将刁光胤等的格法加以增损，故其成就远过其师。中国工笔花鸟画自唐代边鸾开始，就以下笔轻利，用色鲜明见长，黄筌正是沿着从边鸾到刁光胤这条道路而创为一种新体并使工笔花鸟画达到成熟期。黄筌父子的画体对宋代院体画的形成有着极大的影响。据《宣和画谱》的记载，他们的画法，“自祖、宗（按：指宋太祖、太宗）以来，图画院为一时之标准，较艺者视黄氏体制为优劣去取”。其权威性之大，在绘画史上诚属罕见。

 Meticulous flowers and birds are also called outline flowers and birds. The principle of painting is the method of outlining and coloring, which refers to the rendering of colors on the basis of white sketch. From the point of pen, it can be divided into single hook and double hook. The style is exquisite and delicate.

Representation of Tang Dynasty

Meticulous flowers and birds had become an independent family in the Tang Dynasty. Xue Jizhi's paintings of cranes in the early Tang Dynasty and birds and broken branches and flowers in the border paintings in the middle Tang Dynasty are all excellent. Teng Changyou's paintings of geese, plums and broken flowers are light and profitable. They are also painted in fresh and polished colors for a while. In particular, Diao Guangxu, whose "exquisite system" of meticulous flower-and-bird painting is the ancestor of Huang Qian, directly promoted the prosperity of flower-and-bird painting in the Five Dynasties.

Huang Qian is a very important painter in the history of Chinese flower and bird painting. He and Xu Xi are known as "Huang Jia Fu Gui, Xu Xi Yeyi", which is relative to Xu Xi's "falling ink method". Huang Qian paints flowers and birds, first delicately sketching with ink, then applying color. If the ink line is covered by the color, then it is combined with the color; it appears to be rich and exquisite, intense and gorgeous. Therefore, its technique is called "sketching and filling in colors". The style of painting is full of interest and rich interest. All of these can be seen from his handed down painting of rare birds.

Huang Qian's Sketching of Rare Birds shows the accuracy of natural forms such as feathers and insects, and its aesthetic interest as an artistic image. It has indeed reached the stage of both natural and spiritual ingenuity. Huang Qian also inherited and developed the tradition of describing live birds and plants in Bianlu, expressing the vivid state of animals and plants with graceful brushwork and coloring techniques. According to Shen Kuo's Mengxi Talk of Painting in Northern Song Dynasty, Zhu Huang's paintings are wonderful in Fu Se, with very new and fine brushes and almost no ink marks, but they are dyed with light colors, which is called "sketching". In order to create a moving image of birds and flowers, he attaches great importance to observing and experiencing the morphology and habits of birds and birds. In the seventh year of Guangzheng in Houshu (944), he was ordered to paint the crane donated by Huainan on the wall of the partial hall, which was vividly and vividly called the Hall of Six Cranes. In the 16th year of Guangzheng, Huang Qian painted bamboo, rabbit, pheasant and bird in the Eight Diagrams Hall. Huang Qian served in the Palace Academy of Painting. Most of the paintings he saw were banned birds, birds, strange flowers and rocks, such as peach blossoms, eagles, pure white pheasants and rabbits, golden-potted pigeons, peacocks, turtles, cranes and so on, to adapt to the palace's appreciation interest, thus forming a unique style. In Song Dynasty, Huang Jiafugui was called the richest of the Huang family.

Huang Qian can also paint landscapes and figures. Wang Yan, the emperor of the former Shu Dynasty and empress, ordered him to change the use of forefinger to thumb in Wu Daozi's Zhongkui Picture of Ghost Catching, while Huang Qian used the whole body dynamics and eye fixtures in the original painting to his forefinger instead of his thumb, so he should not only make partial changes, but also re-create stories to illustrate his profound understanding of ancient works and his mastery of figure painting.

In the Northern Song Dynasty, Huang Jucai was the first person who directly learned from Huang Qian and had outstanding achievements. His flowers and birds first outline with exquisite fine and firm lines, then apply heavy color layers of halo dyeing, so that the physical image is very lifelike, rich and gorgeous color, similar to the style of Huang's system.

Since then, Zhao Chang, Cui Bai, Wu Yuanyu, Zhao You and other flower and bird painters have developed on the basis of Huang Qian's father and son's painting. Zhao Chang and Wu Yuanyu rewrite life very much. The flower and bird images painted are more vivid and lively. Cui Bai not only pays attention to sketching, but also draws lines more lightly with his pen. Compared with Huang Ju's over-rigorous and rigid style of painting, Cui Bai is more vigorous and vigorous.

Flower and bird painting developed to the Southern Song Dynasty. The famous painters who inherited this school included Li Di, Li Anzhong, Lin Chun, Wu Bing and so on. The flowers and birds are delicate, elegant in color, lifelike in shape and full of vitality. The meticulous flowers and birds of the Yuan Dynasty changed more than those of the previous dynasty. The representative painters are Qian Xuan, Wang Yuan, Bianlu, Chen Lin and Zhang Zhong. Qian Xuanshi inherited Zhaochang, but his creation changed from "courtyard style" to refined and elegant, full of literati temperament. The flowers and birds made by Wang Yuan and Bianlu are not as beautiful as Huang Qian's neatness and simplicity. Chen Lin and Zhang Zhong break through the Song Dynasty's "courtyard body" meticulous and elegant formula for simplicity and simplicity. On the one hand, because of the influence of literati painting, on the other hand, it is also the result of the impact of ink freehand painting style.

Due to the influence of the "Academic Painting School" in the early Ming Dynasty, the fine brushwork of flowers and birds in the Ming Dynasty was flourishing. On the basis of learning from Song Dynasty and Huang Qi's father and son's meticulous brushwork, they formed a style of accurate image, rigorous techniques and brilliant colors, among which Bian Jingzhao and Lu Ji made the most outstanding achievements. The flowers and birds they made are different in shape, singing and dancing, full of expression, fascinating, colorful, rich and calm, and the layout is legitimate but not disorderly, which is very wonderful in sketching.

In the Qing Dynasty, there were Wang Wu, Jiang Tingxi, Shen Quan, Zou Yigui and other outstanding performers, as well as Zhoufu, Ren Xiong and Ren Bonian of the "Shanghai School". Some painters, apart from the fine brushwork of flowers and birds, participate in the freehand brushwork of ink and wash, but their personality style is obviously not as prominent as that of the Ming Dynasty and the pre-Ming Dynasty.