本文像就「趨簡」現象作為面向基礎點，論述折枝畫在畫史上演化進程現象與意義。 就畫史演進來看，從花鳥畫之「全景式J 走向「折枝」圖式，其實是文人畫思想體象下所講化 而成地;然而就「折枝」圖式而言，更能成為「聚焦」 地表達情戚與思想、之核心，並擴展至社會集 體意識中，因此「趨簡」形式之思考是藝文思潮與畫史必然發展。 本文從傳統花鳥畫史之位置經營上，簡略區分為「全景式」及「折枝式」兩種;從花鳥畫發展 進程來看，所謂「全景式」花鳥畫，亦可視為五代北宋山水畫部份截景之樣式，故而在審視兩宋山 水畫及花鳥畫，從「全景式」山水畫衍化至「邊角」山水畫之發展，與花鳥畫「全景式」及「折枝 式」問，在位置經營上相互影響之可能性? 折枝畫之原型是傳統花鳥畫史中具有傳承性及反覆出現之因數，它以不同的人文精神轉化出各 具時代性，及特有之精神世界。以折技花作為原型，進行論述，主要動機在於它是畫史發展中逐漸 形成一種可供歸納之模式與現象，因此進一步，從折枝畫相關歷代主學中、題畫詩跋中，梳理出折 枝畫初始之源由，及各個時代之審美特質。 是故探討由「全景式」花鳥畫轉化至「拆枝式J 位置經營，其間又如何區別呢?然而，從現存 可見「全景式」及「折枝式」花鳥畫作係屬相對位置經營所衍生之樣態，雖分屬不同構成，但也 並非可截然劃分開來，而是以相互交融之畫史現象，如欲將「折枝」一詞，強以明確界定，事實上 頗為尷尬，深怕引喻失義，適得其反;折枝畫概念應如何界定呢?它所形成的邏輯性之轉變過程? 及其所反映的是何種審美心理或社會心理?各朝代折枝畫在型態上，與過往歷史中呈現了何種面 貌?其社會心理與意識所催化之脈絡與痕跡又何在?以上種種，透過本文試探討之。

By the view point of Chinese painting evolving history ,it is under the influence of Literati paintings, that the "full-view"schemata of flower-bird paintings goes towards the "twig-and-leaf' (partial-view) schemata. For the"twig-and-leaf'schemata, thinking in simplication of paintings is evitable in the trend of literary thoughts, and what symbolizing in it is to show the psychological demands. The compositions of Chinese traditional flower-bird paintings can be roughly divided into the "full-view"and the"twig-and-leaf view"two schemata. In the flower-bird painting history, the"full-views"schemata itself also actually is the partial view fonn of the natural landscape panorama view. This article is to discuss how above two schemata influenced landscape painting from Sung dynasty ,furthennore, how to distinguish each other when the full-view transfonned into twig-and-leaf view schemata? How to define the concept of twig-and-leaf paintings? What is the process in logic transfonning? And what is the aesthetic conception of beauty? What are the aspects of the "twig-and-leaf' view showed in the past history? And where are the tracks of its social consciousness left? The prototype of "twig-and-leaf' painting embodies the heritage element in traditional Chinese flower-bird painting history. This element which were repeated in flower-bird paintings , through the painting history, transfonned into different flower-bird works in different time period with literati. It also combined the literature genre with connotation to fonn an unique spiritual world. Further, we can card the original source of the paintings and the features of aesthetic conception of beauty in the works. From existing works, the"full-view"and"twig-and-leaf'view are only defined by the objects position shown on the painting so to speak. Although these are different schemata in painting, they represent the interactive phenomena in painting history. Ifwe are to give the "twing-and-leaf'a clear definition, perhaps we would fail embarrassingly. However, the reason this article discusses the" twig-and-leaf' schemata in flower-bird paintings as the main thought is that comparing to the full-view flower-bird paintings, the "twig-and-leaf' schemata, by its structure gradually formed a recognizable pattem under the flower-bird painting category, it is able to search further the psychological demands to connotation in collecting public.