吴昌硕是“海派”巨擘,也是中国近现代美术史上的一代宗师。这个清末民初艺坛一代压阵之主帅,把中国文人画艺术推到了历史上前所未有的高度,开辟了大写意花鸟画的一代新风,并起着承先启后的重大作用。近代中国美术史以他为晚清画坛最后一人,同时也是20世纪开篇第一人。他以一生心血凝成的大量笔墨文字(诗、文、书、画)是留给我们后代极其宝贵的文化遗产。细观他的写意花鸟画作品,即有诗味,又含金石气,更具书卷气与书法之美;不但在整体上重气势,而且在每一局部处理上都重笔墨法度与技巧,耐人寻味,引人注目。他的传世作品极多,无论大幅小幅的作品均十分精美,其笔墨、构图、印章、款识对画工与文人画家都产生了影响,作品格调既高古又清新、既通俗又文雅,有一种大家为文举重若轻之风范,具有较深的人文精神内涵。 Wu Changshuo is the “Shanghai School” giant, and is also a master of Chinese modern art history. The coach of this generation of artists at the end of the Qing Dynasty and the early Republic pushed the art of Chinese literati painting to unprecedented heights in history and opened up a new generation of flowers and birds of bird’s eyebrows and played a significant role in the precedent and precedent. Modern Chinese art history takes him as the last person in the late Qing dynasty painting circles, and also the first person in the 20th century. The great amount of ink and brush writing (poetry, writing, painting, and drawing) that he has devoted all his life to is the precious cultural heritage left to our children. Throughout his freehand flowers and birds paintings, that is, there are poetic tastes, but also containing gold, more bookish and calligraphic beauty; not only in the overall heavy momentum, but also in each part of the handling are heavy ink brushwork and skills, thought-provoking People attention. He has a great number of handed down works. No matter how small or large works are exquisite, his works of ink, composition, stamps and models have an impact on both painters and literati painters. His works are both ancient and fresh, both popular and elegant, It is the style of emphasizing the importance of the article and has the profound connotation of humanism.