“黃胄是新中國自己培養出來的有為的青年畫家，他能畫我們的人民”。作為新中國美術史上一位具有重要影響力的畫家，黃胄的作品關注生活，真誠描繪人民的形象，特別是為邊疆少數民族留下了壯美的生活畫卷。他的少數民族人物與動物具有鮮明的藝術個性和藝術魅力。
我們的文學家、畫家是在我們的土地上出生成長的，幾千年來有一個看得見摸得著的東西始終貫穿著我們的一切，那就是民族的精神和傳統。我的藝術就是在這個信念的基礎上發展的。——黃胄
黃胄天山之舞
黃胄筆下的少數民族歌舞人物畫，線條流暢，筆墨灑脫，畫面清新，熱烈而樸實，畫中人物輕舞飛揚，熱情怡人，觀者不但能從畫面中感受到歌舞者的熱情似火，也能從畫面的筆墨線條中感受到畫者的激情澎湃，讓人百讀不厭。
可見畫面衣物，樂器，都是西北少數民族，對於畫家來說，生活是非常絢麗多彩的，生活中有那麼多善良的人們，美好的事物，你要畫也畫不完，寫也寫不完。人有多高，畫才有多高 ”。
此畫為黃胄巔峰時期作品，可見簽名還沒有到晚期的嘟嚕一葡萄的時候，可見看到衣物的線條顏色剛硬，是採用了板刷畫的技法，黃胄也是板刷畫最知名的畫家，書寫字型剛硬有力，有如刀刻石碑之上，印章對應黃胄章譜，完全符合，為真跡無疑。
當時快意人心的曲子，舞蹈，讓人身心陶醉，便有了一首音樂，天山之舞：美麗的天山，是我的故鄉，賓士的馬背上，童年的夢想。隔壁沙灘流淌，我的愛，長長的辮子，頭戴小花帽，迷人的眼睛，天山之花，摘下了葡萄，請你嘗一嘗，古麗古麗，美麗古麗，我們坐著火車，去看北京，古麗古麗，美麗古麗，帶著天山之花，去看北京。歌曲中正是畫中景，此畫為黃胄的經典之作，具有不可估量的收藏價值。
廣東崇正2017春季拍賣會上，黃胄曾花20年之功反覆打磨的鉅製《日夜想念毛主席》以3800萬元起拍，最終以5750萬元成交。
黃胄日夜想念毛主席
黃胄是中國畫藝術大師。《日夜想念毛主席》描繪的是新疆維族老人庫爾班·吐魯木日夜思念毛主席，並最終在1958年見到毛主席的事蹟。從1956年黃胄第一次見到庫爾班直到1976年，20年的時間，黃胄畫過多張《日夜想念毛主席》，並數易其稿。從目前查到的資料來看，較早的圖式是庫爾班大叔牽著毛驢以手遮額向東方張望。
此幅《日夜想念毛主席》創作於1976年9月毛主席彌留之際，約24.6平尺，畫面描繪的是庫爾班大叔騎著毛驢，彈著冬不拉，唱著讚歌，迎著朝陽向東方走去。毛主席去世兩天後的9月11日，趙樸初在上面題寫了自作詩。
衡量一個時代的文藝成就最終要看作品，推動文藝繁榮發展，最根本的是要創作生產出無愧於我們這個偉大民族、偉大時代的優秀作品。”這個論斷把文藝創作繁榮的根本課題提到了文藝工作者面前。古往今來，在社會發展的鼎盛時期，都是文藝創作高峰湧現的時期，以文藝名家和經典作品為代表，閃耀著時代精神的光華。今天，時代精神就蘊含在民族復興中國夢的偉大實踐之中，文藝工作者有責任也有能力創作出聚焦新時代、反映新生活、展現新風貌的優秀作品。
黃胄先生是我國著名的國畫大師，是我們民族的驕傲。他終生獻身藝術，堅持深入生活，紮根人民，以表現生活作為文藝創作的唯一源泉，走出“小自我”，投身“大時代”，他的作品體現了深刻的社會關切、現實關懷和思想追求，至今仍是廣大藝術工作者學習的典範。在對外文化交流中，把優秀作品送往國際藝術的主流平臺，讓世界看到當代中國的時代精神與文化氣象，應是當今文化工作者的重要己任。中英文版《中國當代繪畫大師——黃胄》一書由炎黃藝術館和普林斯頓美術館聯合出版發行，書中收錄了黃胄先生創作的部分反映新生活、展現新風貌的優秀作品。筆者認為，該書是弘揚與發展中國優秀民族文化，奉獻給中外讀者的一本經典之作。
黃胄不僅是個偉大的畫家，更是一個偉大的教育家和事業家。他為國家輕工業部創立工藝美術研究所，為文化部創立中國國家畫院，在全國創辦第一所民辦公助的炎黃藝術館，為中國藝術的保護、研究和發展鞠躬盡瘁，耗去他寶貴的生命！1964年毛澤東主席在接見國際友人時談到中國的藝術大師，從清代揚州八怪談到齊白石，又談到徐悲鴻和黃胄，他尤其指出：“黃胄是新中國自己培養出的、有為的青年畫家，他能畫我們的人民。”然而筆者認為，當今美術界對黃胄先生的評價還遠遠沒有到位，他是中國藝術之林的一棵大樹，一座豐碑，是東方藝術群山的一座高峰，目前黃胄字畫，已經處於字畫收藏的頂峰，無可逾越，其收藏價值已經無法用金錢衡量。
繼任伯年之後，晚清海上畫壇升起了一顆璀璨奪目的明星，他的畫風引領畫壇時尚，風靡大江南北，甚至隔海的日本也深受影響，他就是吳昌碩。吳昌碩對詩書畫篆均有精深的造詣， 其中繪畫成就最高，影響最大。特別是他的闊筆大寫意的技法與詩、書、畫、印的完美結合， 對近代繪畫產生了巨大的影響，並將二十世紀文人繪畫推向了新的高峰。齊白石曾贊曰“青藤八大遠凡胎，缶老衰年別有才，我願九泉為走狗，三家門下轉輪來”。評價之高， 由此可見。
吳昌碩菊石圖
此幅《菊石圖》是吳昌碩晚年的大寫意精品之作，該圖繪一方巨石，巨石旁挺立著數枝堅瘦的菊花，頂部為一叢深色的紅菊，下部為黃菊，整個畫面節奏控制張弛有度，顯得極有氣勢。畫面左下方為一叢黃色菊花，與右上角的直立的紅菊相互呼應。整個畫面施墨渾厚沉穩而酣暢又淋漓，構圖不拘陳法，巧於設陳佈勢。畫中秋菊自上而垂，風姿綽約，揮灑之中妙趣橫生。菊花是吳昌碩喜歡的題材，因為菊花具有傲霜骨，能於眾芳謝後迎風盛開，五色繽紛。菊花枝幹用筆融草篆於一爐，渾勁老辣，雜而不亂，線條“篆籀之氣”最能體現其書畫相通之長。老幹挺拔，新枝矯健，花團錦簇，芬芳之氣撲人眉宇。
觀整幅畫面，吳昌碩對畫面位置經營別具匠心，疏密俯仰，穿插虛實，氣韻乃生。吳老缶的繪畫擅於佈局造險而破險。此幅《菊石圖》他採用了虛實相生，奇穩相濟的表現方式，一方面實破前人畫菊的窠臼，自成格局；另一方面在筆意墨色上，以他獨有的掌控能力和嫻熟的表現手法使畫面形成了筆、墨、水的相滲相融，達到了豐富變化與多種對應的統一和諧，不僅體現了菊花的生機煥發之貌，更表達了物我兩忘、形神兼備的詩情意趣。他尤擅長在畫作上作精彩絕倫的題畫詩，通常能根據畫面的需要而生髮出別有滋味的詩句，與畫面產生共鳴，此幅《菊石圖》亦如此。畫中題詩云：“年年頭白東籬叟，種得菊花大如鬥，酌以玉瓶桑落酒。此畫品相完美，紅菊當頭，有著鴻運當頭之意，收藏價值無可估量。
英文翻譯:"Huang Zhou was a promising young painter cultivated by the People's Republic of China. He could paint our people." As a painter with important influence in the history of new China's art, Huang Zhou's works focus on life and sincerely depict the image of the people, especially leaving a magnificent picture of life for the border minorities. His minority characters and animals have distinct artistic personality and artistic charm.
Our writers and painters were born and raised in our land. For thousands of years, there has been a tangible thing running through all of us, that is, the spirit and tradition of our nation. My art is based on this belief. - Huang Zhou
The dance of huang Zhou and Tian Shan
Huang Zhou painted the figures of ethnic minorities singing and dancing, with smooth lines, free and easy strokes, fresh, warm and simple pictures. The figures in the painting dance and fly in the sky with pleasant enthusiasm. The audience can not only feel the enthusiasm of the dancers from the picture, but also feel the passion of the artist from the lines of the brush and ink of the picture, which makes people never tire of reading.
Clothes and Musical Instruments are all from northwest minorities. For painters, life is very colorful. There are so many kind people and beautiful things in life that you can't finish painting or writing. A painting is as tall as a man is."
Painting for Huang Zhou peak work, signature is not visible to the late DuLu grapes, see the line of clothing color hardened, is to use the scrub brush painting techniques, Huang Zhou scrub brush painting of the most famous painters, writing style and strong, like a knife engraved on stone tablets, seal corresponding Huang Zhouzhang spectrum, full compliance with, for real.
At that time the pleasing music, dance, let a person body and mind intoxicated, then had a music, the dance of Tianshan: beautiful Tianshan, is my hometown, galloping on horseback, childhood dream. Next door beach flows, my love, long braids, wearing a little hat, charming eyes, the flower of Tianshan, picked the grapes, please have a taste, Gu Li Gu li, beautiful gu Li, we take a train, to see Beijing, Gu Li Gu li, beautiful gu Li, with the flower of Tianshan, to see Beijing. The song is in the middle of the painting, the painting is a classic work of Huang Zhou, with immeasurable collection value.
Guangdong Chongzheng 2017 spring auction, 黃胄曾 spent 20 years repeatedly polished the work of the giant "Miss Chairman MAO Day and night" to 38 million yuan at the beginning of the auction, the final 57.5 million yuan transaction.
Huang Zhou missed Chairman MAO day and night
Huang Zhou was a master of Chinese painting. "Thinking of Chairman MAO Day and Night" depicts kuerban Tulumu, an elderly Uighur from Xinjiang province, who misses Chairman MAO day and night and finally meets him in 1958. From 1956 to 1976, huang Zhou saw Kuerban for the first time, 20 years of time, Huang Zhou painted several pieces of "Thinking of Chairman MAO Day and night", and change the draft. From the current information, the earlier schema is kuerban uncle holding a donkey to cover the forehead to the east.
This picture "Missing Chairman MAO day and night" was created in September 1976, when Chairman MAO was dying, about 24.6 square feet, the picture depicts uncle Kuerban riding a donkey, playing dongbula, singing hymns, facing the sunrise to the east. On September 11, two days after MAO's death, Zhao puchu inscribed a poem of his own.
The ultimate measure of an era's literary and artistic achievements is their works. To promote the prosperity and development of literature and art, the most fundamental thing is to create and produce excellent works worthy of our great nation and our great era." This judgment brings the fundamental subject of the prosperity of literary and artistic creation to the front of literary and artistic workers. Throughout history, the heyday of social development has witnessed the peak of literary and artistic creation, represented by literary and art masters and classic works, shining with the spirit of The Times. Today, the spirit of The Times is embodied in the great practice of the Chinese Dream of national rejuvenation. Literary and art workers have the responsibility and ability to create excellent works that focus on the new era, reflect the new life and show the new style.
Mr. Huang Zhou is a famous Chinese painting master and the pride of our nation. He devoted himself to art all his life, insisted on going deep into life, rooted in the people, and took life as the only source of literary and artistic creation. He walked out of the "small self" and threw himself into the "big era". His works reflected profound social concern, realistic concern and ideological pursuit, and is still a model for the majority of art workers to learn. In the cultural exchange with foreign countries, it should be the important duty of cultural workers to send excellent works to the mainstream platform of international art and let the world see the spirit of The Times and cultural atmosphere of contemporary China. Chinese and English master of Contemporary Chinese Painting -- Huang Zhou is jointly published by Yan Huang Art Museum and Princeton Art Museum. In the book, some of Mr. Huang's excellent works reflect the new life and show the new style. The author believes that the book is a classic work dedicated to the readers at home and abroad to carry forward and develop China's excellent national culture.
Huang Zhou was not only a great painter, but also a great educator and businessman. He founded the Arts and Crafts Research Institute for the Ministry of Light Industry, founded the China National Academy of Painting for the Ministry of Culture, founded the first private and publicly funded Yan Huang Art Museum in China, dedicated himself to the protection, research and development of Chinese art, and wasted his precious life! In 1964, Chairman MAO Zedong talked about Chinese art masters when meeting international friends, from the eight eccentric artists in Yangzhou in qing Dynasty to Qi Baishi, xu Beihong and Huang Zhou. He pointed out in particular, "Huang Zhou is a promising young painter cultivated by new China. He can paint our people." However, the author believes that the evaluation of Mr. Huang Zhou in today's art circle is far from in place. He is a tree, a monument and a peak of Oriental art mountains. At present, Huang Zhou calligraphy and painting has been at the peak of calligraphy and painting collection, which is beyond the limit, and its collection value can no longer be measured by money.
After Ren Bonian, a bright and dazzling star rose in the late Qing Dynasty maritime painting circle. His painting style led the fashion of painting circle, swept the north and south of China, and even Japan across the sea was deeply influenced by him, wu Changshuo. Wu Changshuo has profound attainments in poetry, calligraphy and seal characters, among which painting is the highest achievement and the greatest influence. In particular, his technique of freehand brushwork and the perfect combination of poetry, calligraphy, painting and printing had a great influence on modern painting and pushed 20th century literati painting to a new peak. Qi Baishi once praised, "The eight green vines are far away from all fetuses, but can not be the old and old talent. I would like to be a running dog, three doors under the wheel." It can be seen from the high evaluation.
Wu Changshuo stone chrysanthemum picture
This ammonites is wu Changshuo's freehand brushwork in his later years. It depicts a huge boulder with several branches of thin chrysanthemums standing beside the boulder. At the top is a cluster of dark red chrysanthemums and at the bottom is yellow chrysanthemums. The lower left of the picture is a cluster of yellow chrysanthemums, and the upright red chrysanthemum in the upper right corner echoes each other. The whole picture of ink vigorous and composed and smooth and dripping dripping, composition regardless of the old method, clever in setting up the old cloth. The autumn chrysanthemum in the painting hangs from the top, graceful and graceful, full of wit and fun. Chrysanthemum is wu Changshuo's favorite theme, because chrysanthemum has the resistance to frost bone, can bloom in the wind after the general fragrance, colorful. Chrysanthemum branch pen melt grass seal in a furnace, hun jin Lao Lao, miscellaneous but not disorderly, line "zhouqi" can most reflect its calligraphy and painting interlinked long. Old dry tall and straight, vigorous new branches, flowers, fragrant gas fluttering in the brow.
Looking at the whole picture, Wu Changshuo shows ingenuity in the location management of the picture. Wu Lao Fou's paintings were good at arranging and breaking risks. This "Ammonite map" he adopted the way of expression of false and real, odd and stable, on the one hand, it broke the pattern of previous chrysanthemum painting, its own pattern; On the other hand, with his unique control ability and skillful expression technique, the painting forms the integration of pen, ink and water, which achieves the unity and harmony of rich changes and various correspondences. It not only reflects the vitality of the chrysanthemum, but also expresses the poetic interest of forgetting both things and me. He was especially good at writing wonderful poems on his paintings, often producing lines that resonated with the picture according to its needs. The poem in the painting says: "Years of white east hedge old, planted chrysanthemum as big as bucket, drink to the jade bottle sangluo wine. This painting looks perfect, red chrysanthemum, has the meaning of good luck, collection value is inestimable.
