陈洪绶作为明末清初时期的代表画家之一，在山水、人物及花鸟等领域都留 下了浓墨重彩的一笔，备受后人敬仰和追捧。陈洪绶的作品有着极其独特的艺术 风格，陈洪绶主张“师古”并且师法的对象十分广泛，但是他却从不拘泥于“古”， 而是加入了主观的理解，形成了他独特的艺术风格。通过对陈洪绶花鸟画的分析 与总结中，发现陈洪绶尤其喜爱画石，他的花鸟画中经常会有“石”的身影。而 石这一特殊的绘画题材在传统绘画中也是不可忽视的一部分。 本文以研究陈洪绶花鸟画中的“石”为切入点，研究陈洪绶花鸟画中“石” 造型以及工笔花鸟画中“石”的作用，文章主要内容分为三个部分组成，首先是 对陈洪绶喜“以石入画”的原因进行研究，笔者认为应从文化和经济的角度进行 探索，由此梳理了赏石文化的发展历程，以及明代社会经济发展和寄情于物的文 人思想对于陈洪绶“以石入画”的影响；第二部分以陈洪绶的作品出发，陈洪绶 的花鸟画不拘泥于客观形象，更多的是物我的表达，他的石也十分符合这一特点， 文章分别从形态、用线以及虚实空间三个角度分析陈洪绶作品中“石”造型的特 点。由于造型对于画面有着至关重要的作用，笔者紧接着探讨了陈洪绶花鸟画中 “石”的影响，先是在花鸟画面中起到的作用，大致包括丰富画面层次、平衡画 面、分割画面以及蓄势的作用，再是研究了陈洪绶花鸟画中的“石”对于后世花 鸟画作品的影响。

Highly admired and sought after by later generations, Chen Hongshou, as one of the representative painters of the late Ming and early Qing dynasties, left a deep and colorful impression in the painting fields of landscape, figures, flowers and birds and so on. The works of Chen Hongshou have an extremely unique artistic style. Chen advocated "learning from the ancient" and followed a wide range of subjects. However, he added his subjective understanding to form his unique artistic style instead of sticking to "the ancient". Through the analysis and summary of Chen Hongshou's flower-and-bird painting, it is found that Chen Hongshou was particularly fond of painting stones. There were often "stones" in his flower-and-bird painting. And the particular painting theme of stone is also a part that cannot be ignored in traditional painting. Taking the stone in Chen Hongshou's flower-and-bird painting as an entry point, this paper studies the role of "stone" in the meticulous flower-and-bird paintings and the unique function of "stone" in Chen Hongshou's flower-and-bird paintings. The article is divided into four parts. The first is a study of the reasons why Chen Hongshou liked to use stones into painting. The author believes that it should be explored from the perspective of culture and economy whereby the author can sort out the development of stone appreciation culture and the influence of the socio-economic development of the Ming Dynasty and the literati's thought of putting affection in things on Chen Hongshou. The second part with Chen Hongshou's flower-and-bird paintings, which do not stick to objective images, but are more an expression of ego through the object. His stones are also completely consistent with this characteristic. This paper analyzes the characteristics of "stone" modeling in Chen Hongshou's works from three perspectives: form, line and virtual reality. Because modeling has a crucial impact on the picture, the author discusses the influence of Chen Hongshou's "stone" in the picture of flower-and-bird painting, First, it plays a role in flower-and-bird paintings, including increasing the level of pictures, balancing pictures, dividing pictures and gaining momentum. Then, it studies the influence of "stone" in Chen Hongshou's flower-and-bird paintings on later generations' flower-and-bird paintings.