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【精品推荐】吴昌硕蓝天碧野图

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2020-12-02 11:17

原标题：【精品推荐】吴昌硕蓝天碧野图

吴昌硕，初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与任伯年、蒲华、虚谷合称为“清末海派四大家”。他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。

Wu Changshuo, whose first name was Jun, also known as Jun Qing, had the courtesy name Chang Shuo, cangshi, Cangshi, Lao Fou, Bitter Iron, Great deafness, Fou Ren, Shi Zun and so on. He was a famous Chinese painter, calligrapher and seal-engraver in the late Qing Dynasty and the Republic Period. He was a representative of the "Post-Shanghai School" and the first President of The Hangzhou Xiling Printing Association. He was called "the four masters of the Late Qing School" together with Ren Bonian, Pu Hua and Xingu. He combines "poetry, calligraphy, painting and printing" as a whole, and integrates stone, stone, stone and calligraphy and painting into a furnace. He is known as "the first person to write stone, drum and seal" and "the last peak of literati painting". In painting, calligraphy, seal cutting are banner characters, in poetry, stone and other aspects are very high atteases.

吴昌硕的绘画题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。

Wu Changshuo's paintings are mainly about flowers and occasionally landscapes. Early get Ren Yi guidance, after the zhao Zhiqian painting, and bo Xu Wei, Eight, Shi Tao and Yangzhou eight strange home long, both with seal seal, scribe, wild brushwork into painting, color ink full, strong, also innovative appearance. His works focus on the whole, still imposing, that "bold and unrestrained place is inseparable from the law, the subtle care of verve", rich in stone. Emphasis on the selection of pen, ink, seal, inscription, seal and so on.

吴昌硕的艺术别辟蹊径，贵于创造，最擅长写意，花卉，他把书法，篆刻的行笔运刀，章法融入绘画，形成富有金石味的独特画风。他以篆笔写梅兰，狂草作葡萄，所作花卉木石，笔力敦厚老辣，纵横恣肆，气势雄强，构图也近书印的章法布白，虚实相生，主体突出画面用色对比强烈。

Wu Changshuo's art is not unique. It is more valuable than creation. He is best at freehand brushwork and flowers. He wrote mei LAN with seal pen, wild grass for grapes, flowers made of wood and stone, brushwork strength is thick and spicy, freely, the momentum is strong, composition is also close to the book printing chapter cloth white, virtual and real life, the main body highlights the color contrast strong picture.

他的作品公认为“重，拙，大”，用笔沉着有力，没有浮华轻飘之意，是为重；自然却无斧凿之痕，稚气洋溢，天真一派，是为拙；气势磅礴，浑然大家，是为大。

His works are generally recognized as "heavy, clumsy, and big". His pen is composed and powerful, without any sense of frivolity. Natural but no chisel marks, childishness filled, naive, is clumsy; Magnificent, like everyone, is for the big.

该《蓝天碧野》从风格上判断，是吴昌硕成熟时期作品。笔法，只有是对笔墨极高的控制能力，用笔简练凝结，浓淡枯湿，寥寥数笔，活灵活现。且构图空灵，左上大半留白。虽寥寥数笔，却浓、淡、枯、点、抹诸多笔法参用，质感、形状、神态历历具足。的确把徐渭“笔墨用到极致”体现的淋漓尽致，再加上吴昌硕自己的书法长题，不失为一幅佳作。当然其他如花、石头、荷花也都是典型的吴昌硕大写意的风格。足以看出吴昌硕本人对作品的认可。除了震撼还是震撼，识者宝之。

Judging from the style, the blue Sky is a mature work of Wu Changshuo. The brushwork is only a very high ability to control the brush and ink. The brushwork is concise and condensed, with a few dry and wet strokes, vivid and vivid. And composition is ethereal, most of the upper left is left blank. Although only a few strokes, but thick, light, dry, dot, daub a lot of brush, texture, shape, expression of the full. Indeed, the most incisively and vividly reflected in Xu Wei's "use of brush and ink to the extreme", together with Wu Changshuo's own calligraphy long topic, can be regarded as a masterpiece. Of course, other flowers, stones, lotus flowers are also typical of Wu Changshuo's freehand style. Enough to see Wu Changshuo's own approval of the work. In addition to shock or shock, the treasure of insight.

吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。

Wu Changshuo, because of the "grass seal script" into the painting, does not ask for realism, forming a direct expression of the modern Chinese painting community, carefree and carefree "freehand brushwork" form. The brushstrokes in the painting are simple, broad and old, with a very round and powerful sense of power. People often say that the breath of Wu Changshuo's painting is very thick, very heavy, according to the people in the circle of painting and calligraphy is "pen head" is very big. The so-called "pen head" is very big, does not mean that he used a very big brush, but that his breath is very strong, a brushstroke, rough jade, power back, and rich meaning, myriad.

吴昌硕，一位中国画坛上颇具影响力的大师。在传统文化融合、贯通的大背景下，吴昌硕也受到影响，他的最大特点和优点也就是通融和超越。虽然时代对于他一生有巨大的推动力，但他自身的刻苦努力也是他成功的重要原因。吴昌硕与传统文人画家不同，兼诗、书、画、印四绝于一身，能博采众长，兼收并蓄，将四绝融会贯通，特别是他以金石入印，入书，入画，以最传统的艺术因素和审美理想塑造了崭新的艺术风格和风气。吴昌硕不仅实现了让绘画体现野逸与高古之气，还把中国画推进到一个新的境界，对现代中国绘画界产生了极其深远的影响。

Wu Changshuo is an influential master in Chinese painting. Under the background of the fusion and penetration of traditional culture, Wu Changshuo was also affected. His biggest characteristic and advantage were accommodation and transcendence. Although The Times have a great impetus for his life, his own hard work is also an important reason for his success. Wu Changshuo is different from traditional literati and painters. He combines poetry, calligraphy, painting and printing into one. He is able to draw on the strengths of others and draw on them in a comprehensive way. Wu Changshuo not only realized the painting to embody the spirit of The Wild and the ancient, but also pushed The Chinese painting to a new realm, which had a profound influence on the modern Chinese painting field.

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