"Travel Map in Autumn Mountain" is 78.5cm×34cm
Description: Travel in Autumn Mountain, , February, Shaomei, Chen Yunzhang.
label: Mr. Chen Shaomei's trip to Qiushan, with a title of Jing Yang.
the waterfall view is 93cm×26cm
The whole picture of the waterfall view is straightforward, with simple brushwork, transcendent charm and far-reaching artistic conception. The picture is light in ink and wash, bright and clear; The brushwork is slender and clear, the ink color is moist and the brushwork is Frank Shu.
Wet brush strokes with thick ink, from thick to light, from existence to nothingness, show the rich brushwork interest and rich ink and wash changes, vigorous and powerful, delicate and free, and the feeling of smoke and haze is light and carefree. After a glance, the viewer feels as if he had experienced what the old man saw and felt in the painting.
"Recruitment Map" is 58.5cm×27cm
The picture shows mountains, steep forests, undulating mountains and steep hills. The structure of rocks is dense and complex, but the context is distinct. The trees are intertwined with moss spots and branches and leaves.
two light messengers nearby are talking on horseback; In the rugged mountain road in the middle scene, an emissary galloped on horseback and was about to hide in the mountains; The hermit at the top of the mountain in the distance looked at the sky leisurely.
The distance between characters, the dynamic and static relationship and the scenery of the whole picture are combined with each other, which makes the picture rich and full without losing the sense of agility, and makes the viewer fascinated.
the picture of visiting friends in Shuige is 133cm×67cm
Description: Zhiyun is kind and elegant. It's noon and summer, and less plum and Chen Zhang.
In the 194s, due to the influence of selling paintings, Chen Shaomei's selection of materials was still limited to landscapes and historical figures, but his painting style changed and his artistic skills became more and more mature. The landscape has gradually shed the trace of Guo Xi, and it is more inclined to the painting style of Ma, Xia and Zhejiang.
People like Chou Ying, who are close to Wei Wu, are all skilled. Because his landscape must be decorated with figures, figure painting must be surrounded by mountains and rivers. Therefore, he can combine various expression methods into a furnace in the combination of mountains and rivers and figures, and according to the requirements of theme and emotion, he has created different artistic features such as delicacy, comeliness and extensiveness, which shows his artistic talent.
Looking at the Clouds Building 34cm×79cm
Inscription: The Yang at the Yuelu Mountain, the Hu of Bixiang, an orphan of Brahma, is homesick and lonely. Looking at it, the crane comes to talk; Looking forward to the evening, I can make up for it. White clouds are eternal, and this building is eternal. The second drawing of Wangyun Building was ordered by the second uncle of Yisheng, and the origin of the building was recorded in detail. The virtue of pure filial piety comes from the past, and it is written in a simple way. It is extremely sad and endless. That is, to teach politics. Chen Yunzhang, a foolish nephew in the Mid-Autumn Festival, respectfully painted and inscribed.
This Chen Shaomei's "Looking at the Cloud Tower" was written in 1942, and the style of "Northern Sect" was clearly revealed in the pen and ink.
The brushwork is concise and vigorous, and the brushwork of trees, stones and houses is depicted with extremely steep lines. The brushwork contains cool and handsome charm, while the overall style of the picture is particularly prominent. The ink contains moist charm and pays attention to charm, so that the picture is not caught in the cold and boring, overbearing and lacking rhyme of the "Northern Sect".
35×22cm
This painting was made by Mr. Chen Shaomei for his wife Feng Zhonglian. The whole picture is vigorous and vigorous with a pen, which is old, spicy, moist and full of charm.
Throughout the painting, mist permeates the room, like a green screen standing in front of my eyes. Scattered huts are looming in the mountain jungle, revealing a touch of Tsinghua. The rocks are green, and the description is meticulous. First, the quality is dyed with the color of big green, and then the texture is slightly carved with the axe of the North Sect and the Pima Sect of the South Sect. The towering rocks look tall and simple after being hooked by the painter's tough and elastic center and dyed with bright and vulgar green.
The painter's exquisite meticulous painting technique vividly depicts the rugged rocks, and at the same time, the overall lines of the rocks are portrayed in a unified and beautiful way. The mountain hut is semi-hidden in the lush forest. Although it is only used for scenery, it is also carefully outlined by boundary painting and dyed with pale ochre, which is soothing and harmonious among the pines and cypresses.
The small waterfalls and streams gurgle through the forest, and the noble men with wide robes and sleeves are brooding under the trees. The whole picture is rhythmic, real and amiable. This also fully embodies Chen Shaomei's clean and elegant style of painting, which combines softness with masculinity. Although the size is not full, it can be said that there are thousands of weather between square inches.
Return to the Sail from Far Pu 135cm×56cm
This painting, Return to the Sail from Far Pu, was made in 195, with a composition of one river and two banks, which highlighted the rocks in the foreground and the trees in various states, with beautiful brushwork, freshness and vigor. In the picture, three sailboats can be seen swimming in the quiet lake. The distant mountains are transcendent in rigor, slightly ochre, foggy and distant in artistic conception. The whole picture presents a kind of stable and tranquil artistic effect, and the characteristics of China's traditional landscape, which can be visited and lived, are undoubtedly revealed, showing Chen Shaomei's profound artistic accomplishment and superb painting skills.
The painting title in "Return to Sail from Far Pu" is one of the famous "Eight Scenes of Xiaoxiang". According to Shen Kuo's Meng Xi Bi Tan in Song Dynasty, "Eight Scenes of Xiaoxiang" was originally the title of eight landscape paintings created by Li Di in Song Dynasty, namely, "Wild Goose Falling in the Flat Sand", "Returning to Sail in the Far Pu", "Sunny Mountains and Clouds", "Autumn Moon in Dongting", "Night Rain in Xiaoxiang", "Night Bell in Yansi" and "Sunset in Fishing Village".
According to the test, Guifan in Yuanpu shows the riverside scenery 7 kilometers north of Orange Island. At dusk, the distant mountains are covered with Dai, the shore is Ruyan Liu, and the white sails are dotted with fishing songs.
Songxi Map is 65cm×39cm
This silk Songxi Map is designed to imitate the Songxi Map of Guoyeyang. Chen Zhang ".
The trees and stones in the painting are all from Guo Xi's brushwork. The mustard seed garden records that "Guo Xianxi's paintings are connected with each other in size, and he turns from top to bottom, looking at them constantly. For this work, every stroke and painting has a book to follow, which shows the exquisiteness of Mr. Shao Mei in the past.