Chen Shaomei 1999 was born in a scholarly family in Hengshan, Hunan, so he printed: "Home is between Dongting and Heng Yue". His father, Mei Sheng, was a scholar in Guangxu period. He used to be the editor of imperial academy and the magistrate of Zhangzhou, Fujian. He also presided over the famous Chuanshan Society in Hunan, and his thoughts were more cheerful. Mr Jia Yan is good at poetry and calligraphy. Shao Mei wrote poems and practiced calligraphy under the supervision of her father since childhood, and was influenced by traditional culture. But he loves Dan Qing more. At the age of sixteen, he participated in the painting club of Beipinghu, so he was promoted to be a lake teacher. It is said that at that time, he was the youngest member of Hushe Painting Association and one of the hardest-working people. At that time, a large number of China painters gathered in old Beijing, and many of them also had rich collections. Chen Shaomei started from copying by private collection. Every time he borrowed a masterpiece, he got a treasure, bent down by candlelight, copied it all night, studied it several times, and then returned it to the painter on time. After several years of tempering, I am smart and diligent, and have a relatively solid foundation in traditional landscape and figure painting; By the age of 20, he had made his mark in painting.

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? 1993, when he was 2 1 year-old, his works participated in the Belgian International Expo and won the silver award for fine arts. At this time, the Chen family had to sell paintings.

? 193 1 year, he moved from Beijing to Tianjin, presided over the Tianjin branch of Hushe Painting Society, engaged in painting creation and served as a disciple, and held exhibitions in Beijing, Tianjin and Shanghai, becoming an influential precocious painter at that time. Mr. Qi Gong said: "Although I am only two years younger than Mr. Shao Mei, I was looking forward to Mr. Wang's works when I was studying painting, which shows that he achieved early." According to Mr. Wu's memory, "When the Japanese invaded Tianjin, they lived in Davenport, mainly painting, and did not ask Wen Da." Zhao Songsheng was an old painter at that time. He had a good reputation in Tianjin painting circle and was respected by his peers. Zhao painted the Yellow River Mountain Fire School, with profound attainments, different from his time, but he admired Chen and gladly took over the post. Chen is modest and frank, never shows off his ability, has no pride, and is not tacky. After the founding of People's Republic of China (PRC), he served as the chairman of Tianjin Branch of China Artists Association, and he worked hard for new art, which gave him a new creative passion.

At the end of 1953, he returned to Beijing from Tianjin. Unfortunately, he died of cerebral hemorrhage in September of the following year at the age of 45.

? Chen Shaomei spent most of his short life in the first half of this century. Although the ideological trend of the New Culture Movement has also impacted the painting circles in China, there have also been a number of artists who have made innovations from different angles, such as Qi Baishi, Huang, Xu Beihong, Lin Fengmian, Gao, Pan Tianshou and Fu Baoshi. However, most China painters, especially landscape painters, continue to stumble along the road of "Four Kings", which obviously has deviated far from the fine tradition of nature, and they can't lose their vitality, such as passive water. Young Chen Shaomei partially saw this desperate situation, and he felt that he had to find a new way to save the decline of Chinese painting. Of course, due to the limitations of artistic thought and social life, he did not find the most fundamental source of art, nor could he learn from western painting art. However, he found a unique artistic language and artistic personality similar to his own from the art of the so-called "Northern Sect", and hoped to find a breakthrough from here. So he started with Guo, followed by paintings by Xia Gui and Qiu Huang, Tang Yin, as if he had found a ray of light in the chaos, which was not easy at that time.

Characteristics of works

In Chen Shaomei's early works, we can still see some landscapes and beautiful women painted in 1930s. The landscape is still in the antique stage, such as Guo's Panpan Map of Songxi, which fully grasps Guo's painting characteristics and pen and ink techniques. "Guo Shanshui, the mountain is rising, the water source is high, there are many ghost faces and stones, the clouds are chaotic, eagle claw trees, pine leaves have needles, miscellaneous leaves have pens", and the outline of rocks has been outlined by arcs for some time. Sometimes, he combined Guo's talons and stone strokes with Ma and Xia's axe on a piece of paper (such as 1933 snow scene). Sometimes Guo's brushwork is combined with heavy green colors (such as "Living in a Mountain by the River"), which can better show his agility and integration process. Now we can see several early figure paintings, mostly ladies and nobles, influenced by Chou Ying and Tang Yin, with soft and elegant painting style. He often puts people in landscape gardens, which not only adds interest, but also gives play to his specialty of painting mountains, stones and bamboo. In 1930s, Chen Shaomei mainly absorbed nutrition from the "Northern School" traditional art, but did not form his own artistic personality.

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In the forties, due to the influence of selling paintings, his 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. Landscape painting gradually got rid of Guo's traces and tended to the painting style of Ma, Xia and Zhejiang schools. People like Chou Ying, close to Wei Wu, are fine. Because his landscape must be decorated with figures, figure painting must be surrounded by mountains and rivers. Therefore, in the combination of landscapes and figures, he can combine all kinds of expression techniques into one furnace, and according to the requirements of theme and emotion, he has shaped different artistic characteristics such as delicacy, beauty and broadness, showing his artistic talent.

? I would like to be cautious, represented by "Garden of the West" and "Peach Blossom Garden". "Garden of the West", painted in 1945, is a large-scale meticulous landscape figure painting, depicting the gathering of painters and literati Su Dongpo, Li and Mi Fei in the Northern Song Dynasty at home. At that time, Li Wei drew the "Elegant Map of the West Garden", but it has never been handed down. Later, Ma Yuan, a southern pillow painter, also painted a long scroll with the same name. He didn't confine the story to Wang Shen's native land, but put the literati who wrote poems, drew pictures, played the piano and asked questions in an environment close to nature, so as to set off the literati's interest in the mountains and forests. As far as form is concerned, his bird's-eye composition provides a long-distance space for literati painters to swim, and interacts with Xia Gui's rich hatchet with Chou Ying's elegant and exquisite brushwork, with light colors as the whole and heavy colors as the supplement, forming a beautiful but not flattering, beautiful and not overbearing style.

? Fan Taohuayuan, which was written in the same year as Xiyuan Yatu, was based on Tao Yuanming's Taohuayuan. He also showed a vast bird's eye space on a small fan. He played with it carefully. There is a fishing boat moored in the rock stream in the lower right corner, and a figure is on the left, passing through the peach blossom head and the quiet cottage. Obviously, it's the fisherman in the article. He just ... Deep above the fan is the ideal realm of "starting from the ground, traffic in the corridor, and chickens and dogs hearing each other". Reading this painting, if you are there, it is like abandoning the boat and going ashore with the fisherman, crossing the forest and heading for a chaotic paradise, and your mood will be "suddenly enlightened". Seeing this, we can't help but admire the artist's ingenious conception and layout, so aptly transforming the language art into visual images, naturally embodying the aesthetic characteristics of China's landscape paintings, and so cleverly arousing the resonance of fishermen and audiences with the surprise and sudden arrangement of the pictures. In addition, I think, at that time, a painter who was under the iron heel of the Japanese invaders chose such painting materials without any idea. It probably shows that the intellectuals who are trapped and can't find a way out hope that the people can live a peaceful life like a peach blossom garden and get rid of the war they are facing, which reflects the painter's good wishes. Although Peach Blossom Spring is only a small piece, it can be regarded as Chen Shaomei's masterpiece in terms of creative attitude and conception skills. 1947, he wrote the Peach Blossom Garden Poetry Volume, which brought us into the realm of another style of poetry. Not only is his style more peculiar, but his language is also more proficient, and his artistic thinking mode of borrowing ancient metaphors from the present is further refined. Deepen the life ideal of "I want to plow and dig wells, but I am still simple and too ordinary".

? In the 1940s, Chen Shaomei also created many delicate figure paintings, such as "Picking Ling Map" and "Deer Pavilion Fisherwoman". The Map of Picking Ling, written in 194 1 year, depicts a woman in a water village driving a boat to pick Ling. Draw an autumn willow with a beautiful branch hanging in the middle of the water, and set off by the slope angle of reed grass at the lower right and upper left, interweave a clear-picking rhombic song with light ink and wash. One of the seven laws on the upper right: "Tiaoxi is old when the high water begins to fall in autumn. Who is in the red and green bun, the boat is not moored like a ridge. At dusk, the moon sets and smoke rises. The lake and the sea are miles in the mirror. Qingge follows the road, unlike Xiye singing lotus picking. " Decorated with autumn scenery, this painting seems to be shrouded in a faint sadness, which shows the author's concern for people's life to some extent. As far as its landscape technique is concerned, it is handled gently because of the particularity of theme and emotion. Although they all have the characteristics of Ma, Xia and Zhejiang landscape painters in dealing with the rhythm of pen and ink, they often form the focus of pen and ink concentration at Zhoutou and Slope Angle. But it is not as rigid or even overbearing as its predecessors, and it is an artistic language digested by the author's personality.

? In Chen Shaomei's works in the 1940s, there is also an extensive brushwork, which is obviously a change of style when his pen and ink are mature. Figures such as "Dong Fangshuo" and "Dharma" have simple brushwork and have the legacy of Wei Wu and Zhang Lu, which is very different from the ladies he painted; Those who have both landscapes and figures, such as returning to the boat after the storm (194 1 year is also called ginger), have benefited from the great efforts of the ancient Zhejiang school, and their skills are by no means inferior to those of the ancients. In his inscription, he said, "I am depressed, and the wind and rain are rustling." It is not empty talk. The more concise "Autumn Mountain View Clouds" (also known as "Qin Ba View Autumn"), the characters look into the ethereal space, and the charm of the paintings and poems outside the painting can be seen, which shows their extraordinary heart. Until the early fifties, this relaxed mood was still manifested, such as "Watching the Waterfall", which used a big axe to split stones, vigorous and powerful, with a loose pen in the center, stronger than bending iron, water lines flowing like weeds, and paintings like the sound of waterfalls discharging waves and stirring. What about Li Bai, the fairy of nature, and Su Shi, the poet? If we understand "painting as a person" in a broad sense, then the artist's preference for a certain form and style will reveal his temperament and mental outlook. It can also be said that this bold brushwork and smooth charm also reflect Chen Shaomei's desire for vitality in the dirty social atmosphere of his youth.

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? When Wu Pai's art went downhill, it was meaningful for Chen Shaomei to spread the fire of Zhejiang School, inherit and develop Zhejiang School's art, and at the same time, it also reflected a law of getting rid of the old and replacing the new. His limitation at that time was that he had not finally broken away from the traditional category and found a brand-new self. It is true that the appreciation of art has a tradition. Just like the traditional repertoire of Beijing Opera, traditional artistic styles such as landscapes, flowers and birds, and ancient costume figures will be passed down from generation to generation, and their artistic value will be provided to future generations. It is still an artistic idea to express people's thoughts in the words of the ancients, but it should change with the development of the times and the changes of life, because the most fundamental vitality of art lies in whether it is rooted in real life, whether it grasps the pulse of the times and whether it reflects the spirit of the times. Chen Shaomei, like many painters from old China, really embarked on this new exploration road after the founding of People's Republic of China (PRC).

? In the early 1950s, Chen Shaomei toured the suburbs of Beijing. During this period, many new works were produced. Judging from the artistic conception, brushwork and composition, they got rid of the ancient methods and gradually became their own artistic language, with exquisite and beautiful as the main tone, and some expressed modern life with a brand-new look. For example, Jiangnan Spring, written by 1953, is a fine brushwork of green landscape, with a pond with lotus leaves at close range and lush spring mountains in the distance. In the middle scene, green willows set off farmland and farmhouse, farmers are transplanting rice, and little girls and grandmothers deliver rice in tandem. This is a relatively perfect new rural landscape painting, which uses a large number of tiny and dense moss spots, exquisite and beautiful, novel and considerable. Xiaogushan was also shot in 1953. This is a lovely sketch. In the painting, a bun-shaped hill stands in the middle of the river, with a small solitary temple halfway up the mountain, a dressing booth at the top of the mountain, and Peng on the right. It seems that when he paints, his mind is always haunted by folklore about the harmony of the hill. He used inkstone fine pen to hook rocks, and Huaqing fine pen to densely cluster trees, and the rocks were all dyed with ochre. The painting method is novel, the painting style is beautiful and very decorative. These artistic treatment methods are related to the works in the 1940s, but the whole artistic conception is more intimate and warm than "Elegant Pictures in the West Garden" and "Poems of Peach Blossom Garden", because it comes from the author's own life experience and his own discovery of beauty, and it is his own unique artistic symbol.

? Inspired by the new life, Chen Shaomei's figure painting has also undergone fundamental changes. In the 1930s and 1940s, he mainly painted ladies, literati and mythical figures, but only a few of his works, such as Selling Cakes, written by 1948, were real figures, and he wrote the poem "The north wind blows clothes and shoots my cakes, but the cakes are cold without worrying about clothes". This sad remark about selling cakes tells the feelings of the poor. In 1950s, he not only devoted himself to the innovation of landscape painting, but also began to explore realistic figure painting, and his creative attitude was very serious. For example, the picture of bathing cows shows farmers' love for cows after turning over. The back of the farmer and the cow in the painting is natural and vivid, meticulous and close. A group of willows hanging in the upper right corner of the picture are cleverly interspersed and neatly written, which not only points out the season of early spring, but also greatly adds color to the picture from the perspective of formal beauty. This reminds me of what the painter's wife, Feng Zhonglian, said: "Mr. Chen always carries a small sketch book in his pocket. When he found a beautiful tree, he hooked it down with a pencil. If you go out with him, he often stays. He must have found something ahead. " I think this wonderful group of wicker is not only because the painter knows the law of plane composition, but more importantly, because it comes from nature.

He studied under Ma, Xia, Guo, Zhejiang Dai Jin and Zhou Chen and Tang Yin. He can learn from many teachers all his life, and he can work simply, and his ink painting is rich and colorful. He has certain attainments in landscapes, figures, flowers and calligraphy, which laid a rich foundation for him to give full play to his personal creativity. At the same time, I think that Ma, Xia and Zhejiang schools are closer to real life, and the modeling significance of pen and ink is greater than the calligraphy interest of pen and ink, which is undoubtedly more convenient to express contemporary life. He sincerely explored along the road he chose, and finally rekindled the raging fire he wanted to extinguish, forming his own style of painting with both rigidity and softness, which is unique in the art world.

Chen Shaomei is a master of inheriting tradition. He treats all excellent painting traditions with piety, taking the northern school as the body and the southern school as the use. The northern school has its potential, while the southern school adds its charm, learning from others, being good at landscapes, figures and animals, writing while working, and having profound traditional skills. He has made great achievements in landscape painting and figure painting. He inherited the painting styles of Guo, Liu Songnian, Xia Gui and Tang Yin in art, and he was bold and uninhibited, but he did not have rough habits. His subtlety is similar to that of Zhou Chen and Tang Yin, and his pen and ink are natural and unrestrained without losing his statutes. His artistic outlook is profound, full of harmonious rhythm and elegant rhythm, forming his own leisure. In particular, his figure paintings are more valued by people. Mr Zhang Daqian once praised Chen Shaomei's figure painting "Song Feng on the clothes".

It has been more than forty years since Chen Shaomei died, and the whole painting world feels sorry for his untimely death. God knows everyone, pretends to live a long life, has a profound traditional foundation, and has found a new artistic path. Dan Qing is climbing a new peak and will certainly make greater contributions to the art world in China.

Painting price

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Chen Shaomei was a brilliant painter who should have made greater achievements in painting art, but unfortunately died of illness at the age of 45. His works are few in existence. In the eighties and nineties, his works didn't appear much in the market, and the price was always between nicknames. Few paintings cost more than 654.38+10,000 yuan, and the painting price is far from that of Ren Bonian, Pan Tianshou and Li Keran. After entering the 2 1 century, Chen Shaomei's works began to be highly praised by experts and painting predecessors, and became one of the hot spots sought after by collectors at home and abroad, and the prices of his works showed a steady upward trend. In 200 1 year, Chen Shaomei's masterpiece Summer Mountain Map was highly sought after at Sotheby's auction. After dozens of rounds of bidding, it was sold at 6.5438+0.4 million yuan, which is also the first time that his works broke through the million-yuan mark. Two years later, Sotheby's in Hong Kong released two works again, one is an imitation of Guo Shanshui, with a scale of only 2 square feet. This work was bought by the owner of 1968 in Beijing Liulichang, and the result was as high as 540,000 yuan. The other is a "spring outing shower", which is only 2 square feet in size. The owner bought it in Tianjin Cultural Relics Store 1967, and the transaction price was as high as 504,000 yuan.

In 2004, Chen Shaomei's works became more unstoppable in the market. Although the appearance of his "wife" is not perfect, it was still sold for 990,000 yuan at the Guardian Spring Auction in China. At the auction of Tianjin Cultural Relics Company in 2004, the starting price of Chen Shaomei's long scroll "Twenty-four Filial Pieties" was 600,000 yuan, which attracted many buyers. Finally, it was sold at 56 1 1,000 yuan, which is the highest price of Chen Shaomei's works at present. In 2004, Return of Song Tao and Deep Forest and Autumn were valued at HK$ 4 and HK$ 5 respectively at Christie's auction in Hong Kong. As a result, it was enthusiastically sought after, and both of them achieved good results of HK$ 65,438+08,000. At present, Chen Shaomei's general works are also in the tens of thousands of yuan, and each large-scale boutique is more than one million yuan, so the market outlook is worthy of attention.

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