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WU CHANGSHUO FLOWER AND ROCK

Lot No: 2686

Estimate(RMB): 800,000-1,200,000

Price Realized(RMB):943,000(Including commission)

款識"偶學孟皋而僅范湖老年之作"中提及的“孟皋”即張孟皋(?~1860),名學廣,曾任浙江安吉縣丞,工花卉,筆力雄健,設色鮮艷而氣韻渾成。吳昌碩在其四十六歲直至八十余歲,作品題款中皆有推崇贊譽張孟皋之語,一生題跋中提及次數(shù)最多。持久的師法不僅在于張氏曾在安吉為官的親近,更因二人人生際遇的共鳴及對其人品的敬重。吳昌碩早年遭太平天國之亂,流離失所;張孟皋則在戰(zhàn)亂中殉節(jié)于忠清巷,其忠義氣節(jié)令吳昌碩深為欽佩。此外,吳昌碩遷居上海后鬻畫為生,需在傳統(tǒng)文人畫的「雅」與市民市場的“俗”之間尋求道路,張孟皋在江浙滬新興市民階層的影響力,亦成為其實際取法的參照。"范湖"則指海派先驅周閑(1820~1875),其花卉筆意挺秀,設色明麗,風格古雅。清同治十三年(1874)秋,吳昌碩因《孝豐縣志》采訪之任赴蘇州,客居于秀水(今嘉興)杜文瀾的「曼陀羅花館」,在此結識了周閑、沈增植、蒲華等友人。周閑年長吳昌碩二十余歲,深受吳昌碩敬重,后者在題跋中多次注明筆意來自周閑,二人亦同熱衷畫葫蘆題材。但吳昌碩并非簡單摹仿,實則重在攝取其氣息與神韻。如其《天竹水仙》上題道:“筆意類范湖,然范湖工于設色,予往往以氣魄見長,猶善歌者得其天籟耳?!笨梢娝谌》ㄖ畷r的自覺突破與個性張揚。這種明確對前賢的追溯亦是吳昌碩人畫俱老后的自謙與自信。此時的吳昌碩已集詩、書、畫、印之大成,卻仍以"學某人筆意"自況,展現(xiàn)出其超越一般文人畫家的胸襟。本件與吳昌碩同為去世前一年所作類似題材如《雁來紅菊石》《菊石》(藏于故宮博物院)等畫風一致,皆菊枝修長??梢娫谄渖钔砟?,缶老菊花雙鉤用筆之潑辣恣肆,面僅一物設色點睛,與其慣常所作以濃麗色彩著稱的花卉迥異。此作設色亦極為克制,以水墨為主,僅葉片及瓶身輕染淺綠,反使淡彩成點睛之筆,菊花筆力穩(wěn)健,展現(xiàn)豐富層次,畫面因而顯得清雅高致,別具一格。但有別于同期菊石,此幅構圖頗有巧思,又以書齋清供為主題,將菊置于瓶中,在野逸中注入文人莊重典雅氛圍。構圖上,葫蘆形瓶長頸窄口,修長菊莖、花頭低垂,與旁置假山石相互呼應,構成橢圓環(huán)形的視覺結構。瓶花高聳,石塊壓角,剛柔相生,平衡之中見生動;左側題跋既填補了畫面空隙,又使畫面在動態(tài)中達成和諧,布局奇險而穩(wěn)重。就主題而言,清供不在華艷,而在氣格高潔。瓶中無多花,僅菊獨秀,石不奇崛,卻與花形成環(huán)抱之勢,有孤芳自賞而不離群倫之感,這正與其晚年心境相映照,此時的吳昌碩雖兒孫繞膝,但友朋凋零(如任伯年、沈曾植等相繼下世),于孤寂之中寄情筆墨,故畫面澹然之中仍內蘊生機。WU CHANGSHUO  FLOWER AND ROCKInk and color on paper, mountedDated 1926Literature: Chronicle of Wu Changshuo's Calligraphy, Paintings and Seal Carvings, p. 812, Zhejiang Ancient Books Publishing House, 2014136.5×34cmRMB: 800,000-1,200,000

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