中国传统文化是兼具深厚文化积淀和美学思想的宝藏，其蕴含的深刻哲理性是西方文化不可比拟的，中国画的笔墨精神就是传统文化中最绚烂的瑰宝，它不仅具有强烈的民族性，也具有现代性。由于当代艺术千变万化的艺术思潮，反映现代理念的新艺术潮流正一步步的将传统倒戈，我们不推崇一成不变的社会发展规律，但是变化的前提，首先应该以传统为根基，以继承为前提。
在“笔墨禁锢论”的片面引导下，当代中国画的创作往往遵循一些无规则的涂抹式画法，把偶然的笔墨游戏当成新的程式语言，违背了传统笔墨的情趣、意向和审美，这些诱因在中国写意花鸟画中，严重消弱了其独特的审美个性和文化品质，作为中国写意花鸟画笔墨代表的“四君子”笔墨，讲求的就是对老祖宗笔墨传统的继承与梳理，讲究的就是笔墨交融、笔墨精妙的有笔有墨的写意精神，剖析写意花鸟画笔墨语言，首先要从“四君子”的笔墨语言这范围入手。它以其独特的笔墨象征性，体现了中国人特有的思维表达方式，即“天人合一”、“物我贯通”。
本文从剖析写意花鸟画中中国传统的“四君子”笔墨语言这一范围入手，旨在总结四君子笔墨在写意花鸟画发展中的独特魅力，对“四君子”笔墨的历史流变、传统继承以及对现代写意花鸟画的影响作出推论，提出“四君子”笔墨是既是对传统笔墨的继承也是现代写意花鸟画笔墨发展的最根本基础。并通过历代画家大量的笔墨实验及大量的梅兰竹菊的训练，不断总结和传承，使大家理解和认识中国画的笔墨规律。进而挖掘和梳理传统的中国写意花鸟画的笔墨语言，通过此文彰显“四君子”千年积淀笔墨的魅力以及它在中国现当代写意花鸟画中不可取代的地位。
关键词 传统；
四君子；
笔墨 - III - Abstract ABSTRACT Since the 1980 s, the Chinese traditional painting is repeatedly hit, “pen and ink of Chinese painting will hinder the development of modern art“ calls for more and more high, many people believe that traditional Chinese painting should be another “new“ and create a has the of modern western art ideas, make Chinese painting to the world the art of the carrier. This fully demonstrated contemporary Chinese popular neglect of traditional Chinese painting program, “why“ pen and ink has been overlooked. Is a with deep cultural accumulation of Chinese traditional culture and esthetics thought of treasure, which contains profound philosophical is incomparable in western culture, traditional Chinese painting of the pen and ink spirit is the most splendid traditional culture treasure, it not only has strong national character, also has the modernity. Due to the protean art ideological trend of contemporary art, reflects the modern idea of the new art trend is will revolt traditional step by step, we do not advocate constant social law of development, but the premise of change, first of all should be based on traditional foundation, on the premise of inheritance. Imprison theory in the “ink“ one-sided guidance, the creation of the contemporary Chinese painting tend to follow a few no rules apply type drawing, the chance of the game as a new programming language, contrary to the traditional pen and ink interest, intention and aesthetic, these incentives in freehand brushwork flower-and-bird paintings in China, severely weakened its unique aesthetic personality and cultural quality, as a representative of the Chinese painting freehand brushwork flowers and birds painting of the “four gentlemen“ pen and ink, the ink is the ancestor of be particular about the traditional inheritance and comb, pay attention to the subtle blends is ink, the ink pen ink freehand brushwork spirit, analyze the ink freehand brushwork flowers and birds painting language, first of all, from the “four gentlemen“ pen and ink language this range. It by its unique and symbolic, embodies the Chinese unique way of thinking, namely “nature and humanity“, “I“. This paper analyze the Chinese traditional freehand brushwork in traditional Chinese flower-and-bird paintings “four gentlemen“ pen and ink language of this range, aims to summarize four gentlemans ink in the development of freehand brushwork flower-and-bird paintings unique charm, in the history of the “four gentlemen“ ink rheology, traditional inheritance and its influence to the modern freehand brushwork flower-and-bird paintings draw inferences, put forward the “four gentlemen“ inherited the traditional pen and ink pen and ink is also the most fundamental basis for the development of the modern pen and ink freehand brushwork flowers and birds painting. And through the experiment and a large number of painters through the ages a large number of ink chrysanthemum patterns of training, constantly summarize and inheritance, make people understand and recognize the ink law of Chinese painting. And mining, and combing the traditional Chinese freehand brushwork flower-and-bird paintings pen and ink language, through this article rev