吴昌硕(1844.8.1-1927.11.29),浙江省孝丰县鄣吴村(今湖州市安吉县)人。原名俊,又名俊卿,字昌硕,又署仓石、苍石,多别号,常见者有仓硕、缶庐、苦铁、大聋、老缶、老苍、缶道人、石尊者等。晚清民国时期著名国画家、书法家、篆刻家,“后海派”代表,杭州西泠印社首任社长,与任伯年、蒲华、虚谷合称为“清末海派四大家”。集“诗、书、画、印”为一身,融金石书画为一炉,被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物,在诗文、金石等方面均有很高的造诣。
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吴昌硕幼时随父读书,后就学于邻村私塾,10余岁时喜刻印章,其父加以指点,初入门径。1865年中秀才,1869年赴杭州就学于诂经精舍,从名儒俞樾习小学及辞章,编成《朴巢印存》。1872年赴上海,识高邕之。1880年寓吴云(平斋)两礨轩,识吴秋农、金心兰、顾茶村、胡三桥、方子昕等,与杨岘(见山)订交。1882年居苏州,与虞山沈石友订交。1883年在沪识任伯年。1899年11月任安东县令,一月即辞。1904年任西泠印社首任社长,与王一亭结为至交,因王一亭的推介,使其名声大振。1914年任上海书画协会会长,1915年被推选为上海“题襟馆书画会”名誉会长。1927年逝于沪寓。
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吴昌硕中年后始作画,绘画题材以花卉为主,亦偶作山水。前期得到任颐指点,后又参用赵之谦画法,并博采徐渭、八大山人、石涛和扬州八怪诸家之长,兼用篆、隶、狂草笔意入画,色酣墨饱,雄健古拙,亦创新貌。设色大胆,别开生面,用色混而不脏,艳而不俗,自有一种古朴的美。作品重整体,尚气势,主张“奔放处不离法度,精微处照顾气魄”,富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重,配合得宜。
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吴昌硕以篆笔写梅兰,狂草作葡萄。所作花卉木石,笔力老辣,气势雄强,布局新颖,构图也近书印的章法布白,喜取“之”字和“女”字格局,或作对角斜势。用色上似赵之谦,喜用浓丽对比的颜色,尤善用西洋红,色泽浓艳。因以“草篆书”入画,状物不求写实,形成了影响近现代中国画坛的直抒胸襟,酣畅淋漓的“大写意” 笔墨形式。
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他酷爱梅花,以写大篆和草书笔法为之,墨梅、红梅兼有,画红梅水分及色彩调和恰到好处,红紫相间,笔墨酣畅。又喜作兰花,喜以或浓或淡的墨色和用篆书笔法画成,刚劲有力。画竹竿以淡墨轻抹,叶以浓墨点出,疏密相间,富有变化,或伴以松、梅、石等,成为“双清”或“三友”。菊花也是他经常入画的题材,伴以岩石,或插以高而瘦的古瓶,与菊花情状相映成趣。菊花多作黄色,亦或作墨菊和红菊。墨菊以焦墨画出,菊叶以大笔泼洒,浓淡相间。
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