吴昌硕（1844-1927）清末著名书画家，篆刻家。原名俊卿，字昌硕，别号苦铁，浙江安吉人，杭州西泠印社首任社长。与虚谷、蒲华、任伯年齐名的“清末海派四杰”。吴昌硕的作品诗、书、画、印配合得宜，融为一体，对艺术创作主张“出己意”、“贵有我”，因此他的作品具有浓厚的“性格特点”。其艺术风尚对我国近现代画坛影响极大，对日本影响也很大。

Wu Changshuo (1844-1927) famous calligraphy and painting artist at the end of the Qing Dynasty. Formerly known as Junqing, the word Changshuo, alias bitter iron, Zhejiang Anji, Hangzhou Xiyu Yinshe first president. In the late Qing Dynasty, the four heroes of the Shanghai School were named after Du Gu, Pu Hua and Ren Bonian. Wu Changshuo’s poems, books, paintings, and prints are well-coordinated and integrated. He advocates “intentional intention” and “expensive and meative” for artistic creation. Therefore, his works have strong “characteristics of personality.” Its artistic style has a great influence on China's modern and contemporary painting circles, and it also has a great influence on Japan.

吴昌硕 花卉四幅图之一

吴昌硕最擅长写意花卉，受徐渭和八大山人影响最大，由于他书法、篆刻功底深厚，他把书法、篆刻的行笔、运刀及章法、体势融入绘画，形成了富有金石味的独特画风，他自己说：“我平生得力之处在于能以作书之法作画。”他常常用篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，力透纸背，纵横恣肆，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”的格局，或作对角斜势，虚实相生，主体突出。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽强烈鲜艳。名重当时的画家任伯年对吴昌硕以石鼓文的篆法入画拍案叫绝，并预言其必将成为画坛的中流砥柱。吴昌硕作画用“草篆书”以书法入画；线条功力异常深厚。虽然从状物绘形的角度看其线条的质感似乎不够丰富、切实，但恰恰是舍弃了形的羁绊，吴昌硕的绘画才步入了“意”的厅堂，从而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” 表现形式。

Wu Changshuo is best at freehand brushwork. He is most influenced by Xuyi and Badashan people. Because of his profound calligraphy and seal cutting skills, he integrated calligraphy, seal cutting, moving knife, and tactics and posture into paintings, forming a rich and unique taste of gold and stone. In his style, he said, "My ability to make a living is to be able to paint by the method of writing books." He often wrote melane with a sly pen, and madly made grapes. The wood and stone made by the artist are very hot and penetrating. They have a strong and aggressive paper layout. Their layout is novel. The composition is also close to the printed book of Zhang Fabubai. He likes to adopt the pattern of “zhi” and “female”, or to make a diagonal trend. The main body is prominent. With the color like Zhao Zhiqian, like to use the contrasting colors, especially good use of Western red, bright color and bright. Ren Bian-nian, the then-principal painter, exclaimed Wu Changshuo's paintings with Shi Guwen's method and predicted that it would become the mainstay of the painting circle. Wu Changshuo made paintings with calligraphy in the “grass and cymbals book”; his skill in lines was extremely deep. Although the texture of the lines does not seem to be rich and practical from the perspective of paintings, but it is precisely the shape that abandoned the shape. Wu Changshuo's paintings entered the hall of “Italian”, thus forming an influence on the modern Chinese painting circle. Straight forward, hearty, expressive "big freehand" form of expression.

吴昌硕 花卉四幅图之二

由于其学画较晚，40岁以后方将画示人。前期得到任颐指点，后又参用赵之谦的画法，服膺于徐渭、朱耷、扬州八怪诸画家的画艺，从中受惠甚多。他酷爱梅花，常以梅花入画，用写大篆和草书的笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅，富有情趣，曾有“苦铁道人梅知己”的诗句，借梅花抒发愤世疾俗的心情。又喜作兰花，为突出兰花洁净孤高的性格，作画时喜以或浓或淡的墨色和用篆书笔法画成，显得刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”，以寄托感情。菊花也是他经常入画的题材。他画菊花或伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间，层次分明。晚年较多画牡丹，花开烂漫，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，显得生气蓬勃。荷花、水仙、松柏也是经常入画的题材。菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。作品色墨并用，浑厚苍劲，再配以画上所题写的真趣盎然的诗文和洒脱不凡的书法，并加盖上古朴的印章，使诗书画印熔为一炉，对于近世花鸟画有很大的影响。

Because of his late painting, the 40-year-old will paint behind him. In the early period, he received instructions from Ren Qi and later used Zhao Zhiqian's painting method to serve the painters of Xu Yi, Zhu Xi, and Yangzhou Eight Monsters, benefiting from them. He loves plum blossoms and often uses plum blossoms for painting. He writes brushstrokes and cursive brushstrokes. He has plum blossoms and red plum blossoms. He draws red plum blossoms with water and color tones just right. He has red and purple colors, smooth ink, rich taste, and had “bitter. The verses of the railway people Mei Meiji used the plum blossoms to express an cynic mood. Also liked orchids, in order to highlight the cleanliness of the orchid's character, when painting with hi or thick or pale ink and painted with a regular , it looked vigorous and powerful. The bamboo poles were painted with light ink, the leaves were spotted with thick ink, and they were densely varied and varied, or accompanied by pines, plums, stones, etc., becoming “Shuangqing” or “three friends” to cherish feelings. Chrysanthemum is also a subject he often paints. He paints chrysanthemums or accompanied by rocks, or inserts high and thin ancient bottles, which contrast with the situation of the chrysanthemum. Chrysanthemums are mostly yellow, or they are also known as ink chrysanthemum and red chrysanthemum The ink chrysanthemum is drawn with coke and ink, and the chrysanthemum leaves are spattered with large amounts of light and shade, with distinct and distinct layers. In the later years, he painted more peony flowers, blooming flowers, bright red carmine coloring, containing more water, and then with dense foliage and leaves, looks animated. Lotus, narcissus and pine cypress are also the subjects of painting. Vegetables and fruits such as bamboo shoots, green vegetables, gourds, pumpkins, peaches, oysters, pomegranates, etc. are also painted one by one and are full of life. The works are coloured and inked, and they are vigorous and vigorous. They are complemented with the poetry and calligraphy that are inscribed on the painting, and are covered with ancient seals. The poetry, calligraphy and painting are then melted into a furnace. For the modern birds and flowers, Great influence.

吴昌硕 花卉四幅图之三

2004年嘉德春季拍卖会上吴昌硕的力作《花卉十二屏风》以1650万元人民币的天价成交，创下了吴昌硕书画作品的最高纪录。从艺术价值、画家的历史地位来看，1650万远远不足以体现吴昌硕《花卉十二屏风》在中国美术史上的地位，吴昌硕作为与虚谷、蒲华、任伯年齐名的“清末海派四杰”，是在中国新旧文化交替的历史背景下，对于传统中国文化的继承与创新的关键人物，他是金石画风从晚清过渡到民国的主要继承者，在近现代画坛，其地位与影响力没有人能与之相比。随着中国民间经济实力的增强，越来越多中国传统艺术品将回归其应有的市场地位，在拍卖会上与西方艺术品相匹敌。小编从英国罗斯柴尔德拍卖行驻大陆办事处亿缘文化解到这四幅花卉图组将参加英国罗斯柴尔德拍卖行ukrothschild新加坡拍卖会，这正是广大字画收藏者入手吴昌硕画作的良机。请登录：qr06.cn/FqD7C0 或者 英国罗斯柴尔德拍卖官网了解更多资讯：ukRothschild.com

At the Guardian Spring Auction 2004, Wu Changshuo’s masterpiece “Flora 12 Screens” was sold for a price of RMB 16.5 million, setting a record for Wu Changshuo's paintings and calligraphy. Judging from the artistic value and the artist’s historical status, 16.5 million is far from enough to reflect the status of Wu Changshuo’s “Flora Twelve Screens” in the history of Chinese art. Wu Changshuo is the “Season of the Late Qing Dynasty” as the name of Du Gu, Pu Hua and Ren Bonian. Jie is a key figure in the inheritance and innovation of traditional Chinese culture under the historical background of the alternation of old and new cultures in China. He was the main inheritor of Jin Shi's painting style from the late Qing Dynasty to the Republic of China. He is in the modern painting circle and his position is No one can compare their influence. With the increase of China's non-governmental economic strength, more and more Chinese traditional art will return to its proper market position and match Western art at the auction. Xiao Bian learned from the UK official website of the UK's Rothschild Auction House that the four groups of flowers will participate in the UK auction of Rothschild Auction House in ukrothschild Singapore. It is an opportunity for the vast number of collectors of calligraphy and painting to start.

吴昌硕 花卉四幅图之四