试以金石粗笔写山水——吴昌硕山水画研究

Portraying Landscape with Inscriptional Style:A Study on Wu Changshuo’s Landscape Paintings

在中国近现代山水画史上,吴昌硕的名字几乎一笔带过,绘画成就也多归因于其花鸟画。本文循其画迹之变,从吴昌硕山水画初承“四王”余绪摹古仿古入手,论及其师承与交游,尝试探索吴昌硕将金石笔法从花鸟画移植到山水画创作的路径,从而分析吴昌硕山水画风对民国画坛的影响,这对我们探讨20世纪海上画派前期山水画风格有着重要作用。

Wu Changshuo, who achieves fame mostly for his flower-and-bird paintings, is quite often neglected in the history of modern Chinese landscape painting. This paper clarifies the evolution of his paintings, by firstly tracing back to his early stage of imitating the heritages of the “Four Wangs”(namely four painters in Qing Dynasty: Wang Shimin, Wang Jian, Wang Yuanqi and Wang Hui), and then discusses his master and friends, and then explores the transition of his inscriptional style from flower-and-bird painting to landscape painting.On this basis, this paper analyzes how his landscape painting style influences the painting circle of the Republic of China, which facilitates the exploration of the landscape painting style of the early stage of the Shanghai Painting School during the 20 th century.