古董字画(精品推荐—名人老字画)

吴昌硕（1844年8月1日—1927年11月29日），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。浙江省孝丰县鄣吴村（今湖州市安吉县）人。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，与厉良玉、赵之谦并称“新浙派”的三位代表人物，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。吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。

吴昌硕山水画

云头皴:是中国山水画常用皴法之一，笔多屈曲迂回，向中心环抱。如"夏云多奇峰"，故称云头皴。这种效法创自北宋山水画家郭熙，他的山水烟云隐现，奇峰多变，"独步一时"。一代宗师郭熙是其画法的开创者，北宋、南宋盛行一时，其后经元唐亦有所发展和变化。此法主要表现山水气势峥嵘、浑厚苍健之貌。

斧劈皴是唐李思训所创之勾斫方法，笔线遒劲，运笔多顿挫曲折，有如刀砍斧劈，故称为斧劈皴，这种皱法宜于表现质地坚硬、棱角分明的岩石。唐代的青绿山水多勾所而少破染。南宋的山水画家以斧劈披用于水墨山水，加重了披染，出现水墨苍劲的风格，画斧劈披常用中锋勾勒山石轮廓，而以侧锋横刮之笔画出皱纹，再用淡墨渲染。笔线细劲的称小斧劈，笔线粗阔的称大斧劈。

这几乎山水画为吴昌硕之力作，可以看到山石的表现皴法，为两种皴法的结合，有着斧劈皴的层次感，又带着云头皴的柔和，属于两种结合的皴法。

雨点皴亦叫豆瓣披，为长点形的短促笔触，常用中锋稍间以侧锋画出。它能表现山石的苍劲厚重。山水画技法名。如雨点小粒，聚点成雨点皴在工笔山水画中的表现方法皴，宛如聚沙成山，后人因其形似故名。用笔似"小斧劈皴"，但用点垛笔法，下笔飞舞如雨点，也应浑厚。

我们可以看到岩石的外形像云朵，而层次感又像劈过的柴火，山水为幽居图风格，表现着人与自然的和谐，《幽居图》画面绚丽清雅，山间幽居，工致精巧中不失古拙秀逸。

郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。

1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。

郎世宁工笔花鸟画流经岁月鸿途，勃然卓立于世界艺术之林。在现代，工笔花鸟画或有吸收装饰画法，或有吸取西方明暗处理，或有借用油画水粉的色彩运用，在技法范畴中呈现出多元的态势，而传统始终被奉为至上的珍宝。

构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐，极具收藏价值。

陈少梅（1909年4月—1954年9月），男，汉族，名云彰，又名云鹑，号升湖，字少梅，以字行，生于湖南衡山的一个书香之家，现代画家。自幼随父学习书画诗文，深受中国传统文化的熏陶。15岁加入金北楼、陈师曾等发起组织的“中国画学研究会”，17岁成为名噪一时的“湖社画会”之骨干，22岁主持“湖社天津分会”，成为津门画坛领袖。1930年他的作品获“比利时建国百年国际博览会”美术银奖，以后开始在画坛崭露头角，成为京津一带颇有影响的画家。新中国成立后，他任中国美术家协会天津分会主席、天津美术学校校长。

这个就是云头皴了，比起吴昌硕的山水柔和了不少，我们仔细看，山石具有很强的立体感，有了透视效果了，着与古画不同，受郎世宁的影响，后期大多的画家都吸收了这种透视手法，让画面感更强，立体感更强。

陈少梅在继承传统方面是集大成者，他心怀虔诚地对待所有优秀绘画传统，以北宗为体，以南宗为用，以北宗蓄其势，以南宗添其韵，博采众长，擅长山水、人物、走兽，工写兼长，传统功力深厚。他的山水画和人物画成就都非常高，尤其是他的人物画更为人所推重，张大千先生曾称赞陈少梅的人物画“衣纹有宋人风格”其作品为书画市场之瑰宝，极具收藏价值。

这几幅墨宝，品相完好，图案文字清晰，纸张老旧，年代感十足，为当时独有的纸张，与如今的机器制纸完全不同，采用了不同的皴法，把山水画表现的淋漓尽致，具有极高的观赏价值，以及收藏价值，当为传世墨宝。

英文翻译Wu Changshuo (August 1, 1844 -- November 29, 1927), the original name of Jun, also known as Jun Qing, the word Chang Shuo, and the department cang Shi, Cang Shi, many other names, mon cang Shuo, Lao Cang, Lao Fou, bitter iron, big deaf, fou, Shi Zunzu, etc. Xiao Feng County, Zhejiang Province zhang Wu Village (today's Huzhou Anji County) people. He was a famous Chinese painter, calligrapher and seal cutter in the late Qing Dynasty and the Republic of China. He was the first president of Hangzhou Xiling Seal Society. He was named as the three representatives of the "New Zhejiang School" with Li Liangyu and Zhao Zhiqian, and he was named as the "Four Masters of the Late Qing Dynasty Shanghai School" with Ren Bonian, Pu Hua and Xu Gu.

He is known as "the first person in Shigu seal writing" and "the last peak of literati painting". In painting, calligraphy, seal cutting are standard-bearers, in poetry, stone and other aspects are very high attainments. Wu Changshuo was eager to help the backward, Qi Baishi, Wang Yiting, Pan Tianshou, Chen Banding, Zhao Yunhe, Wang guan, Meng Hai, etc. On November 29, 1927, Wu Changshuo died at his residence in Shanghai.

Wu Changshuo landscape painting

Cun yuntou: It is one of the monly used TEXturing methods of Chinese landscape painting. For example, "Summer clouds and qifeng", so it is called Yuntou Cun. This imitation was created by Guo Xi, a landscape painter in the Northern Song Dynasty. Guo Xi, the grandmaster of the first generation, was the originator of his painting method, which prevailed in the Northern song dynasty and southern Song Dynasty, and then developed and changed in the Yuan and Tang Dynasties. This method mainly shows the landscape momentum towering, vigorous cangjian appearance.

Cuning is tang Li Sixun created the gou method, pen line is powerful, many twists and turns, like a knife chop chop chop, so called cuning, this wrinkle method is suitable for the performance of hard, angular rocks. The green landscape of the Tang Dynasty is more attractive than broken. Landscape painters in the Southern Song Dynasty used as axes for ink landscape painting, aentuating the dye, and appeared the vigorous style of ink painting. Axes are often used to outline the outline of rocks in the center, and to draw wrinkles with the strokes of the lateral front, and then render with light ink. The thin and strong pen line is called small axe, and the thick and wide pen line is called big axe.

This almost landscape painting is wu Changshuo's masterpiece, you can see the performance of rocks texturing method, for the bination of two texturing method, with the hierarchical feeling of the cunping, and with the soft yuntou cun, belong to two kinds of bination texturing method.

Cun Rain spots, also called Douban PI, are short and long dots. They are often drawn between the center and the side. It can show the strength of the stone thick. Name of landscape painting technique. Cun is the expression method of cun in meticulous landscape painting, just like gathering sand into mountains, which is named by later generations because of its likeness. The pen is like "small axe chop cun", but with the point stack pen method, the next pen dancing like rain, should also be thick.

We can see the shape of the rocks like clouds, and the layering is like a split firewood. The landscape is the style of secluded house, showing the harmony between man and nature. The picture of secluded house is geous and elegant, and the mountain secluded house is exquisitely crafted without breaking the antique and elegant.

Giuseppe Castiglione (1688.7.19 -- 1766.7.16), born Giuseppe Castiglione, was a Jesuit monk and painter born in Milan, Italy.

In 1715 (The 54th year of The Reign of Emperor Kangxi of the Qing Dynasty), he came to China as a missionary, and then joined the imperial Palace as a court painter. During the Three dynasties of Emperor Kangxi, Emperor Yongzheng and Emperor Qianlong, he was engaged in painting in China for more than 50 years, and participated in the design of western mansions in the Old Summer Palace. He was one of the ten court painters in the Qing Dynasty. Lang Was good at painting horses, portraits of people, flowers and animals. His style emphasized the integration of Western painting techniques and traditional Chinese ink, which was favored by the emperor and greatly influenced the qing Dynasty court painting and aesthetic taste after Kangxi.

Lang's meticulous flower-and-bird paintings flow through the years, and stand out in the world of art. In modern times, meticulous flower-and-bird painting has absorbed decorative painting methods, or has absorbed western light and shade processing, or has borrowed the color use of oil painting gouachine, presenting a diversified trend in the category of techniques, and the tradition has always been regarded as the supreme treasure.

The position is based on the pattern of traditional Chinese flower and bird paintings, and emphasizes the prominence of the painted objects. In terms of expression techniques, it gives full play to the characteristics of European paintings that focus on light and shade and perspective, and depicts the texture and volume of petals, leaves and birds' feathers with delicate strokes, presenting an artistic style quite different from traditional Chinese flower and bird paintings. This bination of Chinese and Western painting style became a major feature of the Qing court painting art, favored by the Qing royal family, extremely valuable for collection.

Chen Shaomei (April 1909 -- September 1954), male, Han nationality, was born in a scholarly family in Hengshan, Hunan Province. He was also known as Yunzhang, yunqui, and styled Shaomei. He was a modern painter. Since childhood with his father to learn calligraphy and painting poetry, deeply influenced by the traditional Chinese culture. At the age of 15, he joined the "Chinese Painting Research Society" anized by Jin Beilou and Chen Shiteng. At the age of 17, he became the backbone of the famous "Hu Society Painting Society". At the age of 22, he presided over the "Hu Society Tianjin Branch" and became the leader of Tianjin Painting munity. In 1930, his works won the silver prize of fine arts in the international Exhibition of the Centenary of the Founding of Belgium. After that, he began to show his face in the painting world and became an influential painter in Beijing and Tianjin. After the founding of New China, he served as chairman of Tianjin Branch of Chinese Artists Association and president of Tianjin Fine Arts School.

This is yuntou Cun, pared to Wu Changshuo's landscape is soft a lot, we look carefully, rocks have a strong sense of stereo, with a perspective effect, different from ancient painting, by the influence of Lang Shining, most of the late painters have absorbed this perspective technique, so that the painting sense is stronger, a stronger sense of stereo.

Chen Shao-mei is a master in inheriting traditions. He treats all excellent painting traditions reverently. He is good at landscape, figures and animals, and has profound traditional skills. His landscape painting and figure painting achievements are very high, especially his figure painting is more highly regarded by people, Mr. Zhang Daqian has praised Chen Shaomei's figure painting "clothing lines have song style" its works for the treasure of the painting and calligraphy market, has great collection value.

These pieces of mobao, intact appearance, clear pattern text, old paper, full sense of age, for the time of the unique paper, and today's machine paper pletely different, using different texturing method, the landscape painting performance incisively and vividly, has a high ornamental value, as well as collection value, when handed down mobao.