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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,25,26,27,28,85,7,86,87,29],"书法","树枝","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纸本设色","纵124.6厘米，横59.8厘米","花鸟画精选",[91,55],40,{"id":95,"slug":96,"title":97,"dynasty":42,"author":43,"museum":64,"description":98,"tags":99,"thumbUrl":102,"material":33,"size":33,"collection":33,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":37},224588,"mo-song-yuan-hua-liu-xia-xiong-ji-zhou-zou-yi-gui-224588","橅宋苑画榴下雄鸡轴","此作用色明妍雅致，雄鸡独立石上，红冠华羽，昂首睨视，尽显轩昂神气。榴花似火缀于枝桠，与素白百合、娇柔萱花相映，浓烈与清柔交织，层次丰盈。灵透湖石立旁，皴秀古雅，衬得花木禽鸟更见鲜活生机。\n\n工笔绘就却无板滞之感，禽鸟羽毛晕染细腻毫微，花枝俯仰有情，尽显精工雅致。搭配题诗，将雄鸡傲岸品格融于笔端，物性文思相合，构图疏密得宜，静雅鲜活相融，铺展出祥瑞清和的悠然意境，尽显雅致雍容的花鸟意趣。",[23,24,25,26,47,28,29,7,100,51,101,48],"石榴花","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4db89d3a16251c308996ad3f0f3d35.jpg",[],25,{"id":106,"slug":107,"title":108,"dynasty":42,"author":109,"museum":64,"description":110,"tags":111,"thumbUrl":115,"material":33,"size":33,"collection":33,"collections":116,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":37},230889,"xiong-ji-ju-shi-tu-li-shi-zhuo-230889","雄鸡菊石图","李世倬","这幅水墨写意之作，以雄鸡为主体，踞石而立。铁爪紧扣岩块，冠髯抖擞，尾羽如墨色长剑斜斜舒展，笔意纵逸苍劲，以浓淡墨色晕染出羽毛蓬松肌理，寥寥数笔便将雄鸡骄悍英武之态尽显，形神兼备。\n\n旁侧秋菊斜枝而出，墨花点染间浓淡错落，枯涩枝桠衬出晚秋清逸萧疏的意韵，与雄鸡的刚健相得益彰。右上角行书题诗，笔墨与画意相映，添就悠长文人意趣。\n\n整作笔力苍浑兼具秀润，以极简水墨写尽物象风神，将禽鸟野逸与花草清隽相融，借物抒怀，把秋日生机与雄鸡傲骨铺陈纸上，尽显写意花鸟以形写神的妙处。",[23,112,24,25,26,27,29,7,113,114],"名画","菊","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4355cfcff03a1ce87b1b057424bf8d.jpg",[],22,{"id":119,"slug":120,"title":121,"dynasty":62,"author":122,"museum":123,"description":124,"tags":125,"thumbUrl":130,"material":33,"size":33,"collection":91,"collections":131,"showCount":132,"zanCount":36,"manualWeight":11,"mainColor":133},201639,"xiong-ji-fu-rong-tu-zhou-shen-zhou-201639","雄鸡芙蓉图轴","沈周","上海博物馆","雄鸡昂首伫立，羽翼纹理细腻，绒羽蓬松处见写意之趣，尾羽劲挺显工致之精。旁侧芙蓉花姿绰约，淡粉晕染衬柔婉韵致，叶片浅蓝勾勒，清新雅致。后方湖石造型古拙，皴擦间露苍劲质感，孔洞交错藏空灵之美。整体设色淡雅，笔墨兼具工写，雄鸡英气与花草湖石幽淡相融，营造静谧生机的文人意趣，尽显明代文人画雅致格调。",[24,29,47,126,28,127,7,128,129,23],"写意","皴法","芙蓉","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f94086c34b9c642f1f2e06e6237b8a4.jpg",[91],7,"aea98c",{"id":135,"slug":136,"title":137,"dynasty":42,"author":138,"museum":123,"description":139,"tags":140,"thumbUrl":145,"material":33,"size":33,"collection":33,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":148},202733,"fan-hua-dou-ji-tu-heng-pi-xiao-xiang-202733","繁花斗鸡图横披","萧湘","古雅绢素之上，双雄鸡相搏的鲜活张力与周遭繁花的静美意趣交织。雄鸡羽翅舒展，红冠灼灼，姿态矫健灵动；花叶扶疏间，牡丹、芙蓉等竞放，色彩沉郁却层次分明，间有飞鸟掠过，添几分生机。工笔勾勒细腻入微，设色晕染雅致含蓄，尽显清代花鸟写生的写实功底与文人意趣。构图疏密得宜，动静相生，将自然生机与生命活力凝于尺幅，传递出传统审美中对生活意趣的细腻捕捉。",[47,28,29,141,142,143,7,144,128,23],"斗鸡","繁花","飞鸟","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb9fed9b168fae959edf25bc113ce6a.jpg",[],6,"7d5d40",{"id":150,"slug":151,"title":152,"dynasty":42,"author":153,"museum":64,"description":154,"tags":155,"thumbUrl":163,"material":164,"size":165,"collection":33,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":37},274630,"tong-du-jin-xiong-ji-dong-wu-lou-ge-shi-zhong-yi-ming-274630","铜镀金雄鸡动物楼阁式钟","佚名","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[156,157,158,159,7,160,161,162],"器","金器","铜制","雕刻","楼阁","钟表","装饰摆件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d65dc97e1e7357233d08a1a0e91a40e.jpg","未知","Xcm*Xcm",[],3,{"id":169,"slug":170,"title":171,"dynasty":42,"author":153,"museum":64,"description":172,"tags":173,"thumbUrl":175,"material":164,"size":165,"collection":33,"collections":176,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},269041,"xiu-qiu-hua-xiong-ji-tu-zhou-yi-ming-269041","绣秋花雄鸡图轴","此作为刺绣佳作，意韵悠然。雄鸡伫立坡上，绣线晕染出红褐锦羽的饱满绒泽，墨蓝尾翎纹理毕现，抬足侧目间神气倨傲，形神兼备。旁侧秋葵挺秀舒展，柔瓣晕着暖黄淡色，枝叶勾染清雅；湖石以施针摹仿皴纹，朴拙古雅，衬出花木清疏之态。\n\n整作用针细密雅致，配色温润柔和，以绣线肌理替代笔墨皴染，兼具工笔之细腻与绒线的暖润质感，将秋日庭隅的闲静生机晕染开来，禽花木石相映成趣，尽显绣艺的清丽雅致，把清秋小景的娴静意趣尽数勾勒。",[26,29,28,174,7,128,50],"绣品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8b6e28af26cb765fc2238966b45eae.jpg",[],1777535733396]