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赵云壑(赵子云)

 赵云壑(1874 -1955),江苏苏州人。字子云,原名龙,改名起;号铁汉、壑山樵子、云壑子、壑道人,晚号壑叟、秃翁、半秃老人、秃尊者、泉梅老人。斋名有:日畊心草堂、十泉十梅之居、云起楼、还读楼。另有春晖草堂、思寒斋、无休庵等。赵子云初学画于任预、顾沄,后师从吴昌硕,尽弃前学,遂成名,为吴昌硕高足。后移居上海,为『海上题襟馆』常任理事,海上书画联合会会员。

  • 中文名赵云壑
  • 别名子云
  • 性别
  • 祖籍江苏苏州
  • 出生地苏州
  • 出生日期1874年12月16日
  • 逝世日期1955年1月4日
  • 职业画家
  • 主要成就《壑山樵人印存》
  • 代表作品《时人名画集》
赵云壑艺术生涯

 赵子云少时家境清贫,父赵玉峰以撑船为业。母张氏,家本习儒,故受其影响,喜读书,或操笔涂抹书画。初从苏州医生蒋先农学绘花鸟,後师从秦子卿、李农如、任预诸画师。年三十得诗人顾茶邨之介,拜吴昌硕为师,时缶翁年已周甲矣。

自受教於缶翁,画、书、印俱孟晋,能得缶翁之神而不徒袭其貌,撷其精粹而出新意。复涉猎徐渭石涛、石溪、八大山人之法,博采兼收,是以画益豪迈,声誉亦日隆。

赵子云至沪上求访王一亭,吴派书画风格深得王一亭赏识。后吴昌硕也移居上海,与王一亭成师友挚交。 

1910年,上海书画金石组织『海上题襟馆』成立,被推为常任理事。

1920年,生生美术公司辑《时人名画集》丛刊,第一、二集为《吴昌硕赵子云合册》,缶翁、褚德彝、顾麟士、何汝穆等并题词称许赵云壑画作。

1922年,朵云轩印行赵云壑书画专集《云壑子余墨》,缶翁题署。曾熙题词云:『子云先生缶叟弟子,其为书画,置之缶叟固不能辨。至其写山水,为篆为草,为花为石,则又於缶叟离景以摄神。长史之书,再传鲁公;石田山水,衡山并辔。为子云先生贺,并为缶叟贺也。』

顾麟士略谓:『所写山水、花果,风行—时,名闻海外,其画从篆隶法中得来,既富师资,又高见地,宜其名贵也。』

1925年11月,海上书画联合会成立,以研究发扬中国书画艺术为宗旨,多次举办会员作品展览。会员有于右任王一亭、赵云壑、吴昌硕、周炼霞、张大千刘海粟、钱化佛、陶冷月、谢公展、黄宾虹等。查烟谷任会长。

数十年无间歇,先生晨起必临池。楷书学颜柳,行书学米芾王铎,草学怀素、枝山,隶学《张迁碑》而参以郑簠,篆学《石鼓》兼及泰山、琅琊二刻石,均苍劲沉郁,饶有古趣。

印出缶翁,能自变化,不规规於形似,结字时以《三公山碑》体势入之,随手雕镌,不假修饰而古朴浑厚,人莫能及。辑有《壑山樵人印存》,然传拓不多,世所罕觏。

1940年,其弟子黄昌中先生得印存四册,为其五十一岁至六十岁所作,凡八十六方。1980年,上海书画出版社所出《现代篆刻选辑(二)》,录赵氏刻印三十余方,即选自此册。

云壑自序云:『余少好作书画,尤喜作篆隶,及长而治印。印之为事,追秦也,摹汉也,亦日与古为徒云尔。余不规规於秦若汉,而取篆隶之法行之,不自知其挥洒为雕馊也。夫秦汉之印,余玩习之矣,苍莽浑古,爽直洒脱,疏密相间,气势兼到,无一毫做作气,诚哉弗可及。已後之治印者,承奉以为师,舍是非肆则俗。

 而余乃不此之图,非薄秦汉也。以—意追秦而终不是秦,—意摹汉而终不是汉,孰若行以篆隶之法,随体诘屈,即朱文亦以肥润出之,不为瘦劲;间有边署,并与弄翰不殊,盖适成为余之印也。虽然,印诚余之印矣,而所谓苍莽浑古,爽直洒脱,无一毫做作气者,仍与之息息相通,罔或敢背道而驰焉。则谓之非秦非汉也可,谓之亦秦亦汉也无不可,余固无容心也。』

云壑治艺之道,贵在取神,重在得法,而不斤斤於形貌,故能淹博今古,自成体势。

1932年,吴昌硕去世四年后,赵云壑迁回苏州,辟园造景,遍植琪花美树。其园内有梅树十本,所居宅院附近有井十口,自榜其居为“十泉十梅之居”,后毁于战火。组织云社,与同道共研艺事,笔耕不辍。时与萧退合等优游园下,或听评弹,以乐天年。

五十年代始,聘为苏州文史馆馆员。1955年1月4日,逝于苏州。 

子渔村、女元贞,并能画。弟子甚多,若郑曼陀、谢之光、黄昌中等,皆其著者。

赵云壑与吴昌硕

 传吴昌硕之衣钵者,首推赵云壑。盖因性情、审美与缶师极为投契,日人以“缶庐第二”誉之。下笔辄以篆隶大草笔意出之,饶金石苍茫之趣。好写生,重个性抒发,花卉浑厚苍劲,亦具秀逸之质。山水取法元人,晚年研习石溪、石涛,花卉用色亦参以墨法,独具古艳明快之致。

吴昌硕成为海上画坛领袖,赵云壑功不可没。赵云壑携吴氏信件求访王一亭,深蒙王一亭厚爱。打通各笺扇庄、裱画店,使得朵云轩、九华堂、锦云堂、锦润堂、天宝堂等画店代为收件。约半年,赵云壑回苏州,告吴昌硕以海上成就,促使吴昌硕决意定居海上。 王一亭于上海商界与艺界大力推介吴派艺术,吴昌硕终成“海上画派“领袖

吴、赵两人画风相近,固难分辨。吴昌硕浸淫篆籀之法,以大篆结体与笔势作画。赵氏以石鼓圆劲浑厚之笔通于行书及画法中,喜以长锋羊毫,运臂力走笔,其笔锋遒劲而浑厚,圆转而苍润,画境臻于精善。

赵云壑于吴派花卉之外也旁及山水。其山水早年师法黄公望,中年后参以曹知白吴镇之法。吴昌硕去世后,赵氏已年过五十,更研习石溪、石涛笔意,其花卉用墨用色,具石涛气韵,画风始异于吴氏。

所作行书、石鼓虽类似吴氏,其隶书、大草则取法不同,面目迥异。且吴氏楷书学钟繇,赵氏楷书源自颜、柳。

English Introduction

 When Zhao Ziyun was young, his family was poor, and his father, Zhao Yufeng, worked as a boatman. Zhang's mother, who is a Confucian at home, likes reading or painting. He first drew flowers and birds from Suzhou's Chiang Kai Shek agricultural school, followed by Qin Ziqing, Li Nongru and Ren Pai painter. In 1930, the poet Gu Chaxue, who was a teacher of Wu Changshuo, was born in Zhou Jia.

 

Since he was taught by Xuweng, Meng and Jin dynasties, painting, calligraphy and India, he was able to acquire the God of Qiweng without attacking his appearance in vain, and to capture its essence and bring forth new ideas. Re-exploration of Xu Wei, Shi Tao, Shixi and Bada Shanren's methods, to collect both, is to benefit from the heroic painting, reputation is also growing.

 

Zhao Ziyun visited Wang Yiting in Shanghai. The style of Wu Painting and Calligraphy was appreciated by Wang Yiting. Later, Wu Changshuo also moved to live with Wang Yi Ting as a teacher and friend.

 

In 1910, the organization of "golden inscription on the sea" was set up as a permanent member.

 

In 1920, Sheng Sheng art company published a collection of "time names and paintings". The first, second collection is "Wu Changshuo Zhao Ziyun book", "Weng Weng", "Zhu Deyi", "Gu Lin Shi", "He Rumu" and so on.

 

In 1922, Duyun Xuan printed a collection of Zhao Yunhe's calligraphy and painting, "Yun Guli Zi Mo Mo". Zeng Xiyun inscribed: "Mr. Ziyun is a disciple of an old man. He is a calligrapher and a painter, but he can't distinguish between them. To write landscapes, seals for grass, flowers for stone, and then the old man away from the scene in order to refresh. The book of long history is passed on Lu Gong, Ishida's landscape, and Heng Mountain. Congratulations to Mr. Ziyun and to the elders. "

 

Gu Linshi said slightly: "The landscape, flowers and fruits are popular - when they are well known overseas, their paintings are derived from the seal law, which is rich in teachers and insights, suitable for their precious. "

 

In November 1925, the Federation of maritime calligraphy and painting was set up to study and carry forward the art of Chinese painting and calligraphy. Members include Yu Youren, Wang Yiting, Zhao Yunhe, Wu Changshuo, Zhou Lianxia, Zhang Daqian, Liu Haisu, Qian Hua Buddha, Liu Haisu, Xie Gong exhibition, etc. Cha Yangu served as president.

 

For decades without intermittence, Mr. Li must rise in the morning. Regular script learning Yan Liu, running script learning Mi Fei, Wang Duo, grass learning Huai Su, Zhi Shan, learning the "Zhang Qian tablet" and Zheng Zheng, Zhuan "Xue" and "two" stone, are all vigorous and depressed, with ancient interest.

 

When printing Qiweng, it can change itself, irregular in shape. When it is finished, it enters with the body of Sangong Mountain Stele. It is easy to carve, simple and honest without false decoration, which is beyond the reach of human beings. The collection includes "The Imprint of the Woodcutter in Gushan Mountain", but it has not been widely spread and rarely seen in the world.

 

In 1940, his disciple, Mr. Huang Changzhong, had four copies printed for his fifty-one to sixty-six years of age, all of them eighty-six parties. In 1980, the modern seal cutting collection (two) was published by the Shanghai calligraphy and painting press.

 

Yun Qi prefaced Yun: "Yu Shao likes painting and calligraphy, especially seals, and long seals. Imprinting is a matter of pursuing the Qin Dynasty and imitating the Han Dynasty, as well as the Tuyun Er of Japan and the ancients. Yu did not rule in the Qin Ruohan Dynasty, but took the method of seal script and official script and did not know that it was carved. The seals of Fu, Qin and Han Dynasty are just like the rest of the time. They are indiscriminate, straightforward, free and easy. They are both dense and full of momentum. Later seals are treated as teachers, and right and wrong are treated as vulgar.

 

But Yu is not such a map, not thin Qin and Han Dynasty. To pursue Qin with meaning is not Qin, to imitate Han with meaning is not Han. If you use the method of seal and official script to criticize the body, that is, Zhu Wen is also fat, not thin and vigorous; there is a border department, and it is not different from Langhan, so it is appropriate to cover the imprint. Although the seal of Yin Cheng has been carried out, and the so-called "bold and unrestrained", free and straightforward, there is still no connection with it. It can be said that it is not Qin, not Han, nor Qin, nor Han, and Yu Gu has no tolerance. "

 

The way of Yun Gu's art is to get the spirit, to get the right way, but not to get the appearance. Therefore, Yun Gu's art can flood the whole world and become a self-made person.

 

In 1932, after four years of Wu Changshuo's death, Zhao Yunhe moved back to Suzhou, landscaping and planting flowers. There are ten plum trees in the garden and ten wells near the residence. They boast that they are the residence of ten springs and ten plums, which were destroyed by the war. Organize cloud clubs, work with colleagues on arts and crafts, and keep on writing. When with Xiao Tuihe and other excellent park, or listen to the evaluation, to happy days.

 

In 50s, he was appointed librarian of the library. In January 4, 1955, it passed away.

 

Ziyucun, Ligustrum Lucidum, and can draw. Many disciples, such as Zheng Mantuo, Xie Zhiguang and Huang Changzhong, are the authors.

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