陈少梅，1 九○九年出生于湖南衡山的1 个书香门第，故其印语曰：“家在洞庭衡岳间”。他的父亲陈嘉言，字梅生，为光绪年间进士，曾任翰林院编修、福建漳州知府，也曾在湖南掌管 过着名 的船山学社，思想比较开朗。嘉言先生工诗文，擅书法，少梅自幼即在父亲的督导下赋诗、习字，受到了传统文明 的陶冶 。但是他更酷爱丹青，十六岁时参加了北平的湖社画会，故又号升湖。据说，当时他是湖社画会最年轻的一名 成员，也是学习最刻苦者之1 。当年旧京聚集了1 大批中国画家，许多亦富收藏，陈少梅是借私人收藏临摹起家的。他每借得1 件名作来，便如获珍宝 ，躬身烛光之下，彻夜临摹，临习数遍以后 ，再准时归还画主。经几年磨砺，聪颖加勤奋，使他具备了比较坚实的传统山水、人物画功底；在二十岁摆布 已于画坛崭露头角。

      1 九三○年，当他二十1 岁时，作品就参加了比利时国际博览会，并获美术银版奖。此时，陈家家境日衰，他不得不以卖画为主。

      1 九三1 年始，他由北京转赴天津，掌管 湖社画会天津分会，从事绘画创作，兼事授徒，并于京、津、沪举办画展，成为当时很有影响的一名 早熟的画家。启功先生说：“我比少梅先生虽仅小两岁，但学画时望先生的作品，已如前辈名家，可见他成就之早。”据吴云心先生回忆，“日军侵占天津时，陈少梅居达文里，志画为主，不求闻达。”当时的老画家赵松声在天津画坛很有声誉，为同道所尊重。赵画黄鹤山樵1 派，成就 很深，与陈少梅所宗不同，而对陈却推崇备至，怅然 自居陈下。陈则谦虚坦率，从不自炫其能，1 无傲气，更无俗气。中华人民共和国成立后，他曾任中国美术家协会天津分会主席，积极努力于新美术事业，焕发了新的创作激情。

1 九5 三年底，他由天津回到北京，不幸于次年九月因患脑溢血病逝，惜享年仅四十5 岁。

      陈少梅短暂的终身 ，大部分时间生活于本世纪上半叶。新文明 运动的思潮虽然对中国画坛也发起过冲击，出现了齐白石、黄宾虹、徐悲鸿、林风眠、高剑父、潘天寿、傅抱石等1 批从不同角度进行革新的艺术家，但大部分中国画家特别是山水画家还在继续沿着“四王”的路子蹒跚，明显 已远远背离了师造化的良好 传统，舍本求末，如无源之水，没办法失去了本身 的生机。年轻的陈少梅部分地看出了这类 山穷水尽的困境，他感到必须找到1 条新途，才能援救 中国画的颓势。当然，由于艺术思想和社会生活的局限，他没有找到最根本的艺术源泉，也没有能够从西洋画艺术中汲取可借鉴的地方 。但他从被贬斥的所谓“北宗”的艺术中，发现了特异的艺术言语 ，找到了与本身 相近的艺术个性，并企图 从这里找到1 个突破口。因而 ，他首先从郭熙，然后从马远、夏圭，一同 到仇黄、唐寅、吴伟等人的绘画入手，仿佛在混沌中找到了1 线光明，在当时，就这1 点来讲也是颇为不易的。

陈少梅初期 的作品，尚能见到三十年代所画的部分山水和仕女。山水还处在仿古阶段，如仿郭熙《松溪泛棹图》，完全掌握了郭的绘画特点和笔墨技法，“郭熙山水，其山耸拔盘回，水源高远，多鬼面石、乱云皴、鹰爪树，松叶攒针，杂叶夹笔”，及以弧形线条勾勒山石轮廓等等特点，在1 段时间里不断 影响着他的画风。有时，他又将郭熙的鹰爪树、山石笔法与马、夏的斧劈皴揉于1 纸（如1 九三三年的《雪景山水》）。有时以郭熙的笔致与青绿重彩相结合（如《江畔山居》），这都可以看出他的变通和融合过程。如今 所能见到的几幅初期 人物画，多为仕女、高士，受仇英、唐寅影响较多，画风柔秀淡雅。他常将人物置于山水、园林当中 ，既添加 了情趣，也发挥了他擅画山石竹木的特长。三十年代的陈少梅，次要 是从“北宗”传统艺术中汲取养分 的阶段，还没无形 成本身 的艺术艺术个性。

进入四十年代，由于卖画生活的影响，他的选材仍然限于山水和历史人物，但是画风有了新的变化，艺术技巧也益臻成熟。山水已渐渐脱去郭熙的痕迹，更倾向于马、夏和浙派画风。人物工如仇英，放近吴伟，无不精能。因其山水必有人物点缀，人物画必有山水环衬，所以，他能在山水与人物的结合中把各种不同的表现方法冶为1 炉，并根据题材和情感的要求，创造了谨细、清秀、粗放等不同的艺术面貌，显示了他的艺术才华。

      谨细者，以《西园雅集图》和《桃花源》为代表。《西园雅集图》作于1 九四5 年，是1 件大幅工笔山水人物画，描写北宋时画家兼文人的苏东坡、李公麟、米芾等人在王诜家聚会的情景。当年，李公麟即绘有《西园雅集图》，但没有流传上去 ，后来南枕头画家马远也画过1 件同名长卷。他没有把这1 故事局限于王诜的家园，而将那些赋诗、作画、弹琴、题壁、问道的文人置于近乎大自然的环境里，以衬托文人志在山林的情趣。就情势 而言，他以鸟瞰的构图为文人画家们提供了可游的深远空间，并将仇英秀雅纤丽的笔法与夏圭劲爽刚健的小斧劈皴交互使用，全体 淡彩中局部辅以重彩，构成 了1 种秀逸而不媚弱、清劲而不霸悍的格调。

      与《西园雅集图》同年所作的扇面《桃花源》，是据陶渊明的《桃花源记》而作，他在区区小扇之上，同样以鸟瞰视法展示 了广阔的空间，细心 把玩，右下角岩下溪中泊1 叶渔舟，往左往上便是横互在桃花源头与那世外村舍上的人物，明显 就是文中的那位渔人，他刚刚穿过岩隙正执着地前行。扇面上部深远处即是那“土地平旷，阡陌交通，鸡犬相闻”的理想境界了。读此画，如身临其境，也仿佛随同那渔人一同 弃舟登岸，穿林过山，奔向那无纷乱之争的世外桃源，心情 亦会为之“豁然开朗”。睹此，我们不能不佩服画家构思和布局之巧，竟那样贴切地将言语 艺术转换成了视觉抽象 ，那样自然地体现了中国山水画可居、可游的审美特点，并那样巧妙地通过画面或紧或疏的安排，不仅与渔人也与观众由惊异而豁然的心思 取得了共鸣。另外，我想，当时，在日寇铁蹄下的一名 画家，拔取 这样的画材不是没有想法的。它很可能借此说明身隐囹圄而找不到出路的知识分子，希望人民能过上桃花源般的安静生活，从面临的战乱中得到解脱，它反映了画家这1 善良欲望 。《桃花源》虽然只是件很小的扇面，但从创作态度和构思技巧来说，足可称为陈少梅的1 件精品。1 九四七年，他再度以此为题，作《桃花源诗意长卷》，在另1 种章法里把我们带入了那诗的境界，不仅章法更加奇异，言语 更加熟练，他那借古喻今的艺术思维方式也进1 步趋于高妙，“想得耕田并凿井，仍然 淳朴太平民”的人生理想是益加深沉了。

       四十年代，陈少梅还创作了1 批格调清秀的人物画作品，《采菱图》、《芦汀渔女》即属此例。《采菱图》作于1 九四1 年，表现了一名 水乡妇女驾舟采菱的情景。中部画1 株枝条秀美拂垂水面的秋柳，右下、左上芦草坡角映托 ，加以水墨淡彩，交织出1 首采菱的清歌。右上题七律1 首：“苕溪秋高水初落，菱花已老菱生角。红衣绿髻谁家娘，小艇如棱不停泊。月落青山起暮烟。湖海十里镜中天。清歌1 曲循归路，不似耶溪唱采莲。”此画以秋景点缀，仿佛笼罩着1 股淡淡的哀愁，在必然 程度上表现了作者对人民生活的关切。就其山水技法而论，由于题材和情思的特殊性，处理得比较柔秀，它们虽然都有马、夏和浙派山水画家关于处理的墨色韵律，常常在州头、坡角构成 墨色浓度的焦点等特色。然而又不似前人那样刚硬乃至霸悍，这是经过作者的个性消化过的艺术言语 。

      陈少梅四十年代的作品，还有1 种较为粗放的意笔，这明显 是他在笔墨成熟当前 放笔直干的1 种变格。人物如《东方朔》、《达摩》等笔法率简，有吴伟、张路遗风，与他所画仕女迥然不同；兼及山水、人物者，如《风雨归舟》（1 九四1 年，又称《江风海雨》），得益于古代浙派大家健拔劲锐之力，其技巧绝不在古人之下，他在题记中说：“郁郁勃勃觉江风海雨瑟瑟生指腕也”，并非虚语。更加简炼些的《秋山赏云》（又称《琴罢赏秋》），人物视线投于飘渺空际，尽得画外之画、诗外之诗的余韵，均可见其1 番超俗之心。直到5 十年代初，这类 清逸心情 仍有表现，如《观瀑图》，石用大斧劈皴，苍劲泼辣，松用中锋笔，劲如屈铁，水纹则流动似狂草，观画如闻瀑泄浪激松鸣之声，在此自然之仙李白呢，还是词人苏轼呢？如果我们广义地认识“画如其人”，那么，艺术家对于某种情势 风格的偏爱，也无不透析出他的气质和精神面貌。由此，也能够 说，这类 粗放的意笔，流畅的气韵也体现了青壮年时代的陈少梅在那纯净 的社会氛围中，对于生命力的渴求。

      在吴派艺术走向下坡路的情况下，陈少梅传浙派薪火，对于继承和发展浙派艺术是成心 义的，同时也体现了欣赏趣味的1 种除旧更新的规律，他当时的局限是还没有终究 跳脱传统的范畴，找到1 个全新的自我。诚然，艺术的欣赏有传统的继承性，如同京剧的传统剧目1 样，山水、花鸟、古装人物等传统艺术款式 也会世世代代传下去，并对后代提供它的艺术价值，借古人之形言今人之意也仍然是1 条艺术思路，但它毕竟应当 随着时代的发展和生活的变化相应地发生变革，由于 艺术最根本的生命力在于它是否植根于理想 生活，是否把握了时代脉搏，反映了时代精神。这个命题，陈少梅如同1 大批从旧中国走过来的画家1 样，在中华人民共和国成立以后 才真正踏上这1 新的探索途程。

      5 十年代初，陈少梅曾游京郊各地，在此期间产生了1 批新作，从意境、笔墨、章法来看已脱去古人成法，逐步 化成了本身 以细密秀雅为主调的艺术言语 ，有的以完全簇新 的面目表现了古代 生活。如《江南春》，作于1 九5 三年，为细笔青绿山水，近景是莲叶初露的水塘，高远处是葱翠的春山，中景绿柳掩映着农田、村舍，点以插秧的农民，1 前1 后往田中送饭的小姑娘和老奶奶。这是1 幅比较完善 的新农村风景画，此画大量地应用 了小而密的苔点，谨细娟秀 ，新颖可观。《小姑山》亦为1 九5 三年所作，这是1 幅很可爱的写生画。画中圆如樵髻的小姑山屹立江心，半山有小姑庙，山顶有梳妆亭，右有彭郎矶与之呼应，仿佛他在作画时脑际始终萦回着民间关于小姑与彭郎的传说。他用墨赭细笔勾皴山石，以花青细笔密点丛树，山石尽以赭石染出，画法新颖，画风明净俗气 ，极富装潢 趣味。这些艺术处理手法，和四十年代的作品有必然 的联系，但全部 情调却比《西园雅集图》和《桃花源诗意长卷》更亲切温馨，由于 它来自作者本身 的生活感受，来自作者本身 对美的发现，是他本身 独到的艺术符号。

      由于重生 活的启发，陈少梅的人物画也发生了根本的变化。在三、四十年代，他次要 画仕女、文人学士和神话人物，唯有 1 九四八年所作之《卖饼儿》等少数作品为理想 中人物，并题以“北风吹衣射我饼，不忧衣单忧饼冷”的诗句，这令人心酸的卖饼儿题句道出了贫苦人民的心情 。5 十年代，他除努力 于山水画的创新之外 ，也开始了理想 人物画的探索，创作态度非常认真。如《浴牛图》，表现了翻身后的农民对牛的惜爱之情。图中牵牛的农民的背影和牛都画得自然生动，认真周密 。画面右上角垂下的那1 组柳丝，穿插巧妙，笔法干净利落，既点出了初春的季节，又从情势 美的角度使此图大为减色 。由此我想起了画家夫人冯忠莲所说的1 件事，她说：“陈先生口袋里经常揣1 个小速写本，发现了好看的树，就用铅笔把它勾上去 。如果和他1 块出门，他常常走着走着就不走了，准是前面又发现了入画的事物。”我想，这组绝妙的柳条，不仅由于 画家懂得平面构成的规律，更重要的是由于 它源于大自然。

     陈少梅上承马、夏、郭熙、浙派戴进、吴伟衣钵，兼师周臣、唐寅、仇英，终身 转益多师，能工能简，水墨与重彩并长，山水、人物、花卉和书法均有必然 成就 ，为发挥个人的创造性奠定了宽厚的基础。同时我认为，马、夏也好，浙派也好，他们的表现技法更接近于理想 生活，笔墨的外型 意义多于笔墨的书法趣味，陈少梅由此转入表现当代生活无疑是较为便当的。他沿着本身 选定的路子诚挚地探索着，终究 把那几欲断绝的薪火重新点燃起来，构成 了本身 寓柔于阳刚的清劲画风，于艺坛独树1 帜。

     陈少梅在继承传统方面是集大成者，他心胸 虔诚地对待所有优秀绘画传统，以北宗为体，以南宗为用，以北宗蓄其势，以南宗添其韵，博采众长，擅长山水、人物、飞禽 ，工写兼长，传统功力深厚。他的山水画和人物画成就都非常高，在艺术上继承了郭熙、李唐、刘松年、马远、夏圭、唐寅、仇英等人的绘画风格，豪放处有戴进、吴伟之风，但无粗糙的习惯 ，精细处与周臣、唐寅相近，笔墨萧洒 而不失法度，艺术面貌渊穆清华，弥漫 着和谐的节奏与优雅的韵律，构成 了本身 清逸淡雅、寓柔秀于阳刚的清劲画风，于艺坛独树1 帜。特别 是他的人物画更为人所推重，张大千先生曾称赞陈少梅的人物画“衣纹有宋人风格”。 

     陈少梅辞世已四十余年，画界无不为他英年早逝而可惜 。如果天公识人，假其高寿，这位具有深厚的传统基础又找到了艺术新途正在向着新的高峰攀登的丹青妙手，必将对中国艺坛有更大的贡献。

  陈少梅上承马、夏、郭熙、浙派戴进、吴伟衣钵，兼师周臣、唐寅、仇英，终身 转益多师，能工能简，水墨与重彩并长，山水、人物、花卉和书法均有必然 成就 ，为发挥个人的创造性奠定了宽厚的基础。同时我认为，马、夏也好，浙派也好，他们的表现技法更接近于理想 生活，笔墨的外型 意义多于笔墨的书法趣味，陈少梅由此转入表现当代生活无疑是较为便当的。他沿着本身 选定的路子诚挚地探索着，终究 把那几欲断绝的薪火重新点燃起来，构成 了本身 寓柔于阳刚的清劲画风，于艺坛独树1 帜。陈少梅辞世已四十余年，画界无不为他英年早逝而可惜 。如果天公识人，假其高寿，这位具有深厚的传统基础又找到了艺术新途正在向着新的高峰攀登的丹青妙手，必将对中国艺坛有更大的贡献。

集大成者

陈少梅在继承传统方面是集大成者，他心胸 虔诚地对待所有优秀绘画传统，以北宗为体，以南宗为用，以北宗蓄其势，以南宗添其韵，博采众长，擅长山水、人物、飞禽 ，工写兼长，传统功力深厚。他的山水画和人物画成就都非常高，在艺术上继承了郭熙、李唐、刘松年、马远、夏圭、唐寅、仇英等人的绘画风格，豪放处有戴进、吴伟之风，但无粗糙的习惯 ，精细处与周臣、唐寅相近，笔墨萧洒 而不失法度，艺术面貌渊穆清华，弥漫 着和谐的节奏与优雅的韵律，构成 了本身 清逸淡雅、寓柔秀于阳刚的清劲画风，于艺坛独树1 帜。特别 是他的人物画更为人所推重，张大千先生曾称赞陈少梅的人物画“衣纹有宋人风格”。

 陈少梅15岁加入金北楼、陈师曾等发起组织的中国画学研讨 会，17岁成为名噪1 时的湖社画会骨干，21岁作品获“比利时建国百年国际博览会”美术银奖，22岁掌管 湖社天津分会，成为津门画坛领袖。艺术上转益多师，博采众长，从明人唐寅、仇英得其秀逸清俊之气，从浙派戴进、吴伟得其磅礴生动之致，从元朝 倪云林得其幽淡恬静之趣；再溯源而上，直追宋代郭熙雄壮 明洁之妙，马远、夏圭遒劲苍润之势。作品功力沉雄博大，足与古贤抗衡，构成 了寓秀雅于阳刚的清劲画风，成为晚明以来弘扬北宋绘画最杰出的画家，有“唐寅当前 第1 人”的美誉，被认为“在近古代 画坛上竖立起1 座难以跨越 的高峰”（米景阳语）。建国后，任中国美术家协会天津分会主席，天津美术学校校长，积极努力 于民族绘画的创新与发扬。1953年底由天津回到北京，不幸于次年9月因患脑溢血病逝，惜享年仅46岁，启功叹惜“百身何赎！”。

 Chen Shaomei, a 19 year nine, a family of scholar born in Hunan Heng Mountain, the Indian said: "in the balance between yue". His father Chen Jiayan, the word for Mei Sheng, Guangxu Jinshi, former hanlinyuan editing, Fujian prefect of Zhangzhou, also in Hunan hosted the famous Chuanshan society, thought more cheerful. Mr. Jia said his poems, calligraphy, poetry, in shaomei his father under the supervision of penmanship, under the influence of traditional culture. But he is more fond of painting, at the age of sixteen in Beijing Lake community of painting, it is also No. L l.. It is said that he was the youngest member of the society of the lake, but also one of the most hard to learn. Year old Beijing gathered a large number of Chinese painter, also many rich collections, Chen Shaomei is to borrow in private collections started copying. He borrowed a masterpiece, he treasured, bowed under the candlelight, night copying, copied several times, and then returned on time painting. After several years of efforts, intelligence and diligence, he has a relatively solid foundation, the traditional landscape painting; at the age of twenty in figure painting.

In 1930, when he was twenty-one years old, participated in the works of the Belgian International Fair, and won the silver award for art edition. At this point, Chen's family was bad, he had to sell paintings.

Beginning in 1931, he moved from Beijing to Tianjin, over Lake Community Association Tianjin branch, painting, painting, and things and apprentices, and held exhibitions in Beijing, Tianjin, Shanghai, a precocious artist was very influential. Mr Qi Gong said: "I am less than Mr. Mei is only two years younger, but when Mr. Wang studied painting works, such as his predecessors have been famous, visible early achievement." According to Mr. Wu Yunxin recalled, "the Japanese occupation of Tianjin, Chen Shaomei Judawenli, will not seek to know picture." At that time, the old painter Zhao Songsheng in Tianjin painting a reputation, respect for fellow. Zhao Huang Qiao Heshan painting faction, deep attainments, unlike Chen Shaomei, and Chen was very much pleased, as Chen xia. Chen modest frank, never show off one's ability, no pride, no more. After the founding of People's Republic of China, he served as chairman of the Tianjin branch of the Chinese Artists Association, and actively work in the new art cause, glow with a new passion for creation.

By the end of 1953, he returned to Beijing from Tianjin, unfortunately suffering from cerebral hemorrhage died in September of the following year, but at the age of forty-five.

Chen Shaomei lived a short life, most of the time in the first half of this century. The new culture movement of Chinese painting although also launched a shock, Huang Binhong appeared Qi Baishi, and Xu Beihong, Lin Fengmian, Gao Jianfu, Pan Tianshou, Fu Baoshi and a number of innovative artists from different angles, but most China painter especially landscape painter also continues to stumble along the way, "and" obviously too far away from the fine tradition of nature of trifles, such as passive water, no way to lose their life. The young Chen Shaomei that this part of the end of hills and rivers dilemma, he felt obliged to find a new way to save China painting around. Of course, because of the limitations of artistic ideas and social life, he did not find the most fundamental art source, and did not draw on the art of Western painting can be used for reference. But he was demoted from the so-called "beizong" art, found a specific artistic language, found myself with similar artistic personality, and from here to find a breakthrough. Then, he first from Guo Xi, and then from Ma Yuan and Xia, Huang, Tang Yin, Qiu went to Wu Wei's painting of chaos seemed to find a gleam of light, at the time, this point is also quite easy.

Chen Shaomei's early works, can still see the 30s painting part of landscape and ladies. The landscape is still in the stage of imitation antique, such as Guo Xi "Songxi pan Zhao map", to fully grasp the characteristics of painting and painting techniques Guo, "Guo Xi landscape, the mountain tall and straight back to the plate, water more lofty, ghost face stone, cloud cracked, Trachypenaeus tree, pine needle save, miscellaneous leaf clip pen", and features with the arc lines skyline and so on, has influenced his style in a period of time. Sometimes, he will Guo Xi, Trachypenaeus tree and horses, summer style stone ax cracked to a paper rubbing (such as the 1933 "snow landscape"). Sometimes Guo Xi's elegant and green color combination (such as "River Mountain"), which can be seen in his work and the fusion process. Now we can see the pieces of early portraits, for ladies, Goldsmith, by Qiu Ying, Tang style soft elegant show more influence. He often put people in the landscape, gardens, which increased the appeal, also play he was good at drawing bamboo specialty rocks. 30s Chen Shaomei, mainly from the north of the traditional arts in the draw nutrition stage, has not yet formed its own artistic personality.

In 40s, due to the impact of selling pictures of life, his material is still limited to the landscape and historical figures, but the style has changed, artistic skills also benefit mature. The landscape has gradually removed the traces of Guo Xi, more inclined to horses, summer and Zhejiang style. People work as enemies, put in Wu Wei, all good. Because of the landscape will have characters of embellishment, figure painting will have landscape so he can ring, in combination with the characters of landscape expression in the different ways as a furnace smelting, and according to the themes and emotional demands, creating a fine, handsome, with extensive different artistic appearance, shows his artistic talent.

So fine, the "Xiyuan Aristo map" and "the Peach Garden" as the representative. "Xiyuan Aristo map" in 1945, is a large Chinese landscape painting, described in the Northern Song Dynasty painter and writer Su Dongpo, Li Gonglin, Mi Fei, Wang et al party in the house scene. That year, Li Gonglin has painted the "Xiyuan Aristo map", but has not been handed down, then south pillow painter also painted a horse far long name. He did not think this story is confined to the king, homes, and those in the literati poetry, painting, piano, wall, asked near the natural environment, in order to bring in the mountains the taste of literati. On the form, he provides a profound space travel to a composition for the literati painters, and Qiu Ying fair fine beautiful calligraphy and cool summer Guijin vigorous small ax cracked interactive use, the overall light color with local color, form a kind of elegant but not charming, fresh and weak don't bully the style.

With the "Xiyuan Aristo map" the same year as the sector is the "the Peach Garden", according to Tao Yuanming's "Peach Blossom Spring and a small fan, he was on the same as to the bird's-eye view shows a broad space, careful play, right under the river in a boat moored hornfels, to the left is the cross each other in the world and the peach blossom source cottage on the figures, is obviously in the fisherman, he had just crossed the gap is dedication to move forward. The upper is the "great land Ping Kuang, Qianmo traffic, with the ideal of". Read this painting, together with seemed to be personally on the scene, the fishermen ashore and through the woods to the mountain, no confusion between the mood will also land of idyllic beauty, "click into place". To see this, we can not help but admire the artists conception and layout clever, so aptly the art of language into visual image, it naturally reflects the aesthetic features of landscape painting in China, can swim, and so skillfully through the screen or tight or sparsely arranged, and also with the audience not only by the fisherman surprised and suddenly made psychological resonance. In addition, I think, was a painter in the Japanese under the iron heel, the selection of this painting material is not no idea. It is possible to explain the body hidden bars and can not find a way out of the intellectuals, hope people can live a quiet life in the Peach Garden, to get relief from facing the war, it reflects the painter good wishes. "The Peach Garden" is very small fan, but from the attitude of creation and design skills, a boutique foot can be called the Shau Mei chen. In 1947, he was again on this topic, as the "the Peach Garden" poetic scroll, takes us into the realm of poetry in another composition, composition not only more exotic language, more skilled, using his artistic way of thinking also tends to be more ingenious, "to plow and sinking, still too simple civilian life" the ideal is more deep.

In 40s, Chen Shaomei also created a number of delicate style figure painting works, "map", "Cai Ling Lu Ting" in the female fish. "Mining Ling figure" in 1941, the performance of a water woman riding a boat to the scene. Draw a line of central branches vertical surface of autumn beautiful brush, right and left on the reed against the slope angle, to ink light color, weaving a piece of the Cailing song. Right on the title song: "Qilu autumn high Shuichu Tiaoxi falls, Ryoka old Ling head. Red green bun who like edge not parked boat Niang. The moon has Muyan castle. Lake sea ten mile mirror transit. Sing along the way, not like Ye Xi sing this." This painting seems shrouded in autumn with a hint of sadness, to a certain extent, the performance of the author concerns people's life. The landscape technique is concerned, due to the special nature of the subject matter and emotion.

Chen Shaomei, Guo Xi, Cheng Ma, Xia zhe Dai Jin, Wu Wei mantle, and teacher Chen, Tang Yin, Zhou Qiu Ying, on life, can be simple, ink and color and long, landscapes, figures, flowers and calligraphy have certain attainments, laid the foundation for generous personal creative play. At the same time I think the horse, or summer, Zhejiang or their performance techniques more close to the real life, the other meaning than ink ink calligraphy interest, Chen Shaomei was forced into the representation of modern life is more convenient. He walked along the path of his chosen earnestly explore, finally put it to sever the torch rekindled, formed their own apartment in soft masculine fresh art style, to become an independent school. The death of Chen Shaomei has been more than forty years, painting for all his untimely death and regret. If I know people, the false longevity, the traditional deep foundation and find a new way of art is towards new heights to climb out, will make greater contribution to China art.

Synthesizer

In the tradition of Chen Shaomei is the synthesizer, he is faithful to all outstanding traditional painting, to the north were for the body, to use in the north to south, the storage potential, to add its southern rhyme, landscapes, figures, learn widely from others'strong points, good at writing and working animals, long, deep traditional skill. His landscape painting and figure painting achievements are very high, in the arts, Li Tang inherited Guo Xi and Liu Songnian, Ma Yuan, Xia, Tang Yin, Qiu Ying et al painting style, bold at Dai Jin, Wu Weizhi wind, but no rough habit, fine similar and Zhou Chen, Tang Yin, pen and ink style losing the testimonies, the appearance of art yuan Mu Tsinghua, filled with harmonious rhythm and graceful rhythm, formed its own elegant, soft house show in masculine fresh style, to become an independent school art. Especially his painting more people hold in esteem, Mr. Zhang Daqian has praised Chen Shaomei's figure painting "clothing lines of song style".

At the age of 15 Chen Shaomei joined the gold North building, Chen Shiceng organized the China Painting Research Association, at the age of 17 and became famous lake community painting backbone, 21 year old work won the Belgian Centennial International Art Exposition "silver, 22 years old over Lake community of Tianjin branch, become the leader of Tianjin painting. On the art, from Tang Yin in the Ming Dynasty, learn widely from others'strong points, the hideitsu kiyotoshi Qiu Ying Qi, Dai Jin and Wu Wei from Zhejiang to the majestic vivid, the quiet quiet interest from the Yuan Dynasty to Ni Yunlin; and on the back, catching the song Guo Xi Ming Jie Miao Xiongjian, Ma Yuan and Xia GUI elegant pale trend. Work skill good foot and broad, Gu Xian contend, formed in the Qing Jin Yu Su masculine style, become the late Ming Dynasty to carry forward the Northern Song Dynasty painting the most outstanding painter, "Tang Yin after the first man in the world, are considered" erected an insurmountable peak in modern painting "(Mi Jingyang language). After the founding of new China, he served as the chairman of the Tianjin branch of the Chinese Artists Association, Tianjin art school principals, and actively committed to the innovation and development of national painting. By the end of 1953, Tianjin returned to Beijing, unfortunately suffering from cerebral hemorrhage died in September of the following year, but at the age of 46, Qi Gong deplored "unable to ransom by a hundred selves!".