追溯文化源流,古今中外都把女性的美艳与花的美艳相提并论。同是造物主的杰作,同质同调的丽质不仅明示着世间的美好,也暗示生命的活力。青春与生命,春色与生机,二者同构相伴。雷诺阿画中裸女固然直抒妙龄女郎的性感,柯勒惠支画的裸女却像被抽去了“性感”。日本当代画家井村之彦的画作《焰》,丰肌绰约的裸女颈项之上生着一颗狞目獠牙的妖魔头角,周身燃起熊熊妒火——直接画女人未必等同于性与生命的赞颂。可是当艺术家把花之美与女性青春之美相联系的时候,往往内蕴着情爱的寄寓,唱起生命的颂歌。且不论着花衣,依花丛之泛泛,世界名画中如提香的手拈鲜花之《花神》,周昉的《簪花仕女》,莫高窟的《散花天女》等 Tracing the origins of culture, both ancient and modern women and glamorous beauty of beauty compared to the same breath. The same is the masterpiece of the Creator. The same quality of beauty not only shows the beauty of the world, but also implies the vitality of life. Youth and life, spring and life, both accompanied by the same structure. Renoir painted the naked woman Although the direct expression of the sexy young girl, Koole Hui Zhi Nu Nu like being drawn to the “sexy.” Japanese artist Yoshii Inoue’s painting “Flame”, Feng Musi graceful bare female neck above the birth of a stupid fangs demon head angle, the whole body lit rage jealousy - painting a woman may not be equal to the praise of sex and life . However, when artists associate the beauty of flowers with the beauty of women’s youth, they tend to imply the love affair and sang the carols of life. Regardless of the flower, in accordance with the generalization of flowers, such as the world famous paintings such as the hands of Tiandi flowers “Flower God”, Zhou Luan’s “Hairpin Ladies” Mogao Grottoes