着眼于现当代的国画界,改革开放之后,多元的文化格局迅速形成,之前遭到冷遇的花鸟画重新被人们认识和赏识。在这样的契机下,为了进一步打破传统花鸟画中色彩单一化和程式化的格局,花鸟画家们试图从民间艺术的色彩表现形式和西方色彩理论的研究成果中汲取营养,并将其融入自己的创作实践中。以此类方式形成的花鸟画作品,因为在内容上贴近生活,在形式上新颖别致,所以能在很大程度上满足大众的审美趣味,获得雅俗共赏之效,并在艺术市场和收藏界赢得一定的地位。当然,这种“蓬勃之势”下也不乏大量“粗造滥制”“牵强 Focusing on the contemporary Chinese painting circles, after the reform and opening up, a pluralistic cultural pattern was rapidly formed, and the flower and bird paintings that had previously been cold-tempered were re-recognized and appreciated by people. Under this kind of opportunity, in order to further break the pattern of mono-colorization and stylization in the traditional flower-and-bird painting, flower and bird painters tried to draw nutrition from the color representation of folk art and the research results of western color theory and integrate it into their own Creative practice. The flower and bird paintings formed in such a way can meet the aesthetic taste of the public to a large extent because of their closeness to content and their novel form, Position. Of course, there are also a lot of such ”vigorous forces."