赵少昂（1905～1998 ）字叔仪，原籍广东番禺。擅花鸟、走兽， 继承岭南画派的传统，主张革新中国画。其画能融汇古今，并汲取外国绘画的表现形式，同时又注重师法造化。作品笔墨简练、生动，形神兼备，深受人们的欢迎。

飞鸟图

寒飄雪意滿瀟湘

赵少昂在其一生漫长的艺术实践中，创作了数以千计的花鸟作品，早期画风注重于写生的真实感，勾线、着色甚为洒脱工致，而晚年则“老而愈妙”，由博返约，强调神韵而能于奔放、粗狂之中见其精细之处。在其数量极多的花鸟册页中，最能体现他对大自然生机活力的充分把握，概括而又准确地刻画对象，充分发挥笔墨的表现力。

这些花鸟画册页多为赵少昂后期的作品，相对其早期大幅且工多于写的作品，这些花鸟画作品更像平常写生练习的习作或上课授徒的小稿，然却能以一种更为简洁疏朗的构图、简练迅捷的笔法、清新明快的用墨着色来捕捉小鸟的各种动态。画面中，或芦苇、或竹枝、或树枝，以及花叶数笔，小鸟小憩、展翅、觅食、鸣叫等动态跃然纸上，这些作品的共同特点是准确而真实地把握住小鸟生动的外部整体形象，而内部细节则写意简略，所谓“外工而内意，外精而内粗”；再赋予深浅浓淡的墨与色，然后细腻而传神描写小鸟的头部，尤其是眼睛处，将个性巧妙的蕴藉于生动传神的形象之中，高明、独到的深入到小生灵一瞬间恣意的动态中。

红叶小鸟

章法独特，不落俗套，多把最显眼的繁花小鸟画在上半部分，并以净墨画花叶衬托红叶繁花，显得气格高雅、艳丽脱俗，不愧被誉为高奇峰之后岭南画派的最佳传人，徐悲鸿更称“赵君花鸟为中国现代第一人，当世罕出其右者”，并作诗以赠：“画派南天有继人，赵君花鸟实传神，秋风塞上老骑客，烂漫春光艳羡深。”足见赵少昂花鸟画艺术的成就。

红叶小鸟

红叶鹦鹉

柳梢白頭

柳丝八哥

赵少昂花鸟画有传统笔墨，有师承、写生，但不是照搬，而是将传统、师承、写生，写生与写意融合于一炉进行创新。他教学生时说过，要为人所不能，不为人所不为。我过去的画不能代表我。事实上，他早期与晚期的画变化很大，是不断否定、扬弃中发展的。他笔下的花鸟草虫不是客观自然照相式的照搬，不是工笔画那样笔笔精谨，须眉毕现，也不是文人画过分的写意变形、减笔等突出地扩张自我个性。

赵少昂对自然界观察独到的视角和悟性与众不同，他是审视中西艺术后，很高明地把握住一个雅俗共赏的、偏向中国画艺术用心神会，又不完全影响西方艺术更多地用眼睛审美的折中临界点，因而他物象的细腻是有主观取舍的：即保持物像外部整体形象的视觉真实，而形象内部细节则写意简略，所谓“外工而内意，外精而内粗”，比如将细腻传神的描写，集中在鸟、蛙等生灵的头部、尤其是眼睛处。将个性巧妙地蕴藉于生动传神的形象之中，与形象同化为一体，他十分高明、独到地深入到这些小生灵一瞬间恣意的动态中，进行诗意化的放大，因而其作品可以不依靠其它背景，如仅画一只鸟，都能充满动感、生机、和蔼的春意与灵性。

鸣禽蜜蜂图

鸣禽图

牡丹雙禽

木棉鸣禽

木棉小鳥

鳥趣圖

秋林红叶

秋禽圖

雀鸣图

雀栖图

雀啼

樱花翠鸟

桃花鸣禽

天寒有鹤守梅花

一路平安

幽禽

枝头禽鸟

枝头珍禽

竹林翠鸟

竹鳥圖

竹雀图

竹雀图

枝头小鸟

赵少昂不但诗作得好，其书法也是一绝。当然，他不是一位诸体兼擅的书法专家，他的书法擅长，主要是诗书画合璧中题画诗的行草书写体。他的书法敛放俊爽，刚健婀娜，如急泻的山涧泉流，穿越乱石丛中激射跳跃，左冲右荡，但大势连绵一片，韵足神合，整然若画，宋代文豪欧阳修诗云：“忘形得意知者寡，不若见诗如见画”甚可形容。其书法与他的画相配，简直天然璧合，完美如一，人称“少昂体”。

竹枝鸣禽

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