“黄胄是新中国自己培养出来的有为的青年画家，他能画我们的人民”。作为新中国美术史上一位具有重要影响力的画家，黄胄的作品关注生活，真诚描绘人民的形象，特别是为边疆少数民族留下了壮美的生活画卷。他的少数民族人物与动物具有鲜明的艺术个性和艺术魅力。
我们的文学家、画家是在我们的土地上出生成长的，几千年来有一个看得见摸得着的东西始终贯穿着我们的一切，那就是民族的精神和传统。我的艺术就是在这个信念的基础上发展的。——黄胄
黄胄天山之舞
黄胄笔下的少数民族歌舞人物画，线条流畅，笔墨洒脱，画面清新，热烈而朴实，画中人物轻舞飞扬，热情怡人，观者不但能从画面中感受到歌舞者的热情似火，也能从画面的笔墨线条中感受到画者的激情澎湃，让人百读不厌。
可见画面衣物，乐器，都是西北少数民族，对于画家来说，生活是非常绚丽多彩的，生活中有那么多善良的人们，美好的事物，你要画也画不完，写也写不完。人有多高，画才有多高 ”。
此画为黄胄巅峰时期作品，可见签名还没有到晚期的嘟噜一葡萄的时候，可见看到衣物的线条颜色刚硬，是采用了板刷画的技法，黄胄也是板刷画最知名的画家，书写字体刚硬有力，有如刀刻石碑之上，印章对应黄胄章谱，完全符合，为真迹无疑。
当时快意人心的曲子，舞蹈，让人身心陶醉，便有了一首音乐，天山之舞：美丽的天山，是我的故乡，奔驰的马背上，童年的梦想。隔壁沙滩流淌，我的爱，长长的辫子，头戴小花帽，迷人的眼睛，天山之花，摘下了葡萄，请你尝一尝，古丽古丽，美丽古丽，我们坐着火车，去看北京，古丽古丽，美丽古丽，带着天山之花，去看北京。歌曲中正是画中景，此画为黄胄的经典之作，具有不可估量的收藏价值。
广东崇正2017春季拍卖会上，黄胄曾花20年之功反复打磨的巨制《日夜想念毛主席》以3800万元起拍，最终以5750万元成交。
黄胄日夜想念毛主席
黄胄是中国画艺术大师。《日夜想念毛主席》描绘的是*疆新**维族老人库尔班·吐鲁木日夜思念毛主席，并最终在1958年见到毛主席的事迹。从1956年黄胄第一次见到库尔班直到1976年，20年的时间，黄胄画过多张《日夜想念毛主席》，并数易其稿。从目前查到的资料来看，较早的图式是库尔班大叔牵着毛驴以手遮额向东方张望。
此幅《日夜想念毛主席》创作于1976年9月毛主席弥留之际，约24.6平尺，画面描绘的是库尔班大叔骑着毛驴，弹着冬不拉，唱着赞歌，迎着朝阳向东方走去。毛主席去世两天后的9月11日，赵朴初在上面题写了自作诗。
衡量一个时代的文艺成就最终要看作品，推动文艺繁荣发展，最根本的是要创作生产出无愧于我们这个伟大民族、伟大时代的优秀作品。”这个论断把文艺创作繁荣的根本课题提到了文艺工作者面前。古往今来，在社会发展的鼎盛时期，都是文艺创作高峰涌现的时期，以文艺名家和经典作品为代表，闪耀着时代精神的光华。今天，时代精神就蕴含在民族复兴中国梦的伟大实践之中，文艺工作者有责任也有能力创作出聚焦新时代、反映新生活、展现新风貌的优秀作品。
黄胄先生是我国著名的国画大师，是我们民族的骄傲。他终生献身艺术，坚持深入生活，扎根人民，以表现生活作为文艺创作的唯一源泉，走出“小自我”，投身“大时代”，他的作品体现了深刻的社会关切、现实关怀和思想追求，至今仍是广大艺术工作者学习的典范。在对外文化交流中，把优秀作品送往国际艺术的主流平台，让世界看到当代中国的时代精神与文化气象，应是当今文化工作者的重要己任。中英文版《中国当代绘画大师——黄胄》一书由炎黄艺术馆和普林斯顿美术馆联合出版发行，书中收录了黄胄先生创作的部分反映新生活、展现新风貌的优秀作品。笔者认为，该书是弘扬与发展中国优秀民族文化，奉献给中外读者的一本经典之作。
黄胄不仅是个伟大的画家，更是一个伟大的教育家和事业家。他为国家轻工业部创立工艺美术研究所，为文化部创立中国国家画院，在全国创办第一所民办公助的炎黄艺术馆，为中国艺术的保护、研究和发展鞠躬尽瘁，耗去他宝贵的生命！1964年毛*东泽**主席在接见国际友人时谈到中国的艺术大师，从清代扬州八怪谈到齐白石，又谈到徐悲鸿和黄胄，他尤其指出：“黄胄是新中国自己培养出的、有为的青年画家，他能画我们的人民。”然而笔者认为，当今美术界对黄胄先生的评价还远远没有到位，他是中国艺术之林的一棵大树，一座丰碑，是东方艺术群山的一座高峰，目前黄胄字画，已经处于字画收藏的顶峰，无可逾越，其收藏价值已经无法用金钱衡量。
继任伯年之后，晚清海上画坛升起了一颗璀璨夺目的明星，他的画风引领画坛时尚，风靡大江南北，甚至隔海的日本也深受影响，他就是吴昌硕。吴昌硕对诗书画篆均有精深的造诣， 其中绘画成就最高，影响最大。特别是他的阔笔大写意的技法与诗、书、画、印的完美结合， 对近代绘画产生了巨大的影响，并将二十世纪文人绘画推向了新的高峰。齐白石曾赞曰“青藤八大远凡胎，缶老衰年别有才，我愿九泉为走狗，三家门下转轮来”。评价之高， 由此可见。
吴昌硕菊石图
此幅《菊石图》是吴昌硕晚年的大写意精品之作，该图绘一方巨石，巨石旁挺立着数枝坚瘦的菊花，顶部为一丛深色的红菊，下部为*菊黄**，整个画面节奏控制张弛有度，显得极有气势。画面左下方为一丛黄色菊花，与右上角的直立的红菊相互呼应。整个画面施墨浑厚沉稳而酣畅又淋漓，构图不拘陈法，巧于设陈布势。画中秋菊自上而垂，风姿绰约，挥洒之中妙趣横生。菊花是吴昌硕喜欢的题材，因为菊花具有傲霜骨，能于众芳谢后迎风盛开，五色缤纷。菊花枝干用笔融草篆于一炉，浑劲老辣，杂而不乱，线条“篆籀之气”最能体现其书画相通之长。老干挺拔，新枝矫健，花团锦簇，芬芳之气扑人眉宇。
观整幅画面，吴昌硕对画面位置经营别具匠心，疏密俯仰，穿插虚实，气韵乃生。吴老缶的绘画擅于布局造险而破险。此幅《菊石图》他采用了虚实相生，奇稳相济的表现方式，一方面实破前人画菊的窠臼，自成格局；另一方面在笔意墨色上，以他独有的掌控能力和娴熟的表现手法使画面形成了笔、墨、水的相渗相融，达到了丰富变化与多种对应的统一和谐，不仅体现了菊花的生机焕发之貌，更表达了物我两忘、形神兼备的诗情意趣。他尤擅长在画作上作精彩绝伦的题画诗，通常能根据画面的需要而生发出别有滋味的诗句，与画面产生共鸣，此幅《菊石图》亦如此。画中题诗云：“年年头白东篱叟，种得菊花大如斗，酌以玉瓶桑落酒。此画品相完美，红菊当头，有着鸿运当头之意，收藏价值无可估量。
英文翻译:"Huang Zhou was a promising young painter cultivated by the People's Republic of China. He could paint our people." As a painter with important influence in the history of new China's art, Huang Zhou's works focus on life and sincerely depict the image of the people, especially leaving a magnificent picture of life for the border minorities. His minority characters and animals have distinct artistic personality and artistic charm.
Our writers and painters were born and raised in our land. For thousands of years, there has been a tangible thing running through all of us, that is, the spirit and tradition of our nation. My art is based on this belief. - Huang Zhou
The dance of huang Zhou and Tian Shan
Huang Zhou painted the figures of ethnic minorities singing and dancing, with smooth lines, free and easy strokes, fresh, warm and simple pictures. The figures in the painting dance and fly in the sky with pleasant enthusiasm. The audience can not only feel the enthusiasm of the dancers from the picture, but also feel the passion of the artist from the lines of the brush and ink of the picture, which makes people never tire of reading.
Clothes and Musical Instruments are all from northwest minorities. For painters, life is very colorful. There are so many kind people and beautiful things in life that you can't finish painting or writing. A painting is as tall as a man is."
Painting for Huang Zhou peak work, signature is not visible to the late DuLu grapes, see the line of clothing color hardened, is to use the scrub brush painting techniques, Huang Zhou scrub brush painting of the most famous painters, writing style and strong, like a knife engraved on stone tablets, seal corresponding Huang Zhouzhang spectrum, full compliance with, for real.
At that time the pleasing music, dance, let a person body and mind intoxicated, then had a music, the dance of Tianshan: beautiful Tianshan, is my hometown, galloping on horseback, childhood dream. Next door beach flows, my love, long braids, wearing a little hat, charming eyes, the flower of Tianshan, picked the grapes, please have a taste, Gu Li Gu li, beautiful gu Li, we take a train, to see Beijing, Gu Li Gu li, beautiful gu Li, with the flower of Tianshan, to see Beijing. The song is in the middle of the painting, the painting is a classic work of Huang Zhou, with immeasurable collection value.
Guangdong Chongzheng 2017 spring auction, 黄胄曾 spent 20 years repeatedly polished the work of the giant "Miss Chairman MAO Day and night" to 38 million yuan at the beginning of the auction, the final 57.5 million yuan transaction.
Huang Zhou missed Chairman MAO day and night
Huang Zhou was a master of Chinese painting. "Thinking of Chairman MAO Day and Night" depicts kuerban Tulumu, an elderly Uighur from Xinjiang province, who misses Chairman MAO day and night and finally meets him in 1958. From 1956 to 1976, huang Zhou saw Kuerban for the first time, 20 years of time, Huang Zhou painted several pieces of "Thinking of Chairman MAO Day and night", and change the draft. From the current information, the earlier schema is kuerban uncle holding a donkey to cover the forehead to the east.
This picture "Missing Chairman MAO day and night" was created in September 1976, when Chairman MAO was dying, about 24.6 square feet, the picture depicts uncle Kuerban riding a donkey, playing dongbula, singing hymns, facing the sunrise to the east. On September 11, two days after MAO's death, Zhao puchu inscribed a poem of his own.
The ultimate measure of an era's literary and artistic achievements is their works. To promote the prosperity and development of literature and art, the most fundamental thing is to create and produce excellent works worthy of our great nation and our great era." This judgment brings the fundamental subject of the prosperity of literary and artistic creation to the front of literary and artistic workers. Throughout history, the heyday of social development has witnessed the peak of literary and artistic creation, represented by literary and art masters and classic works, shining with the spirit of The Times. Today, the spirit of The Times is embodied in the great practice of the Chinese Dream of national rejuvenation. Literary and art workers have the responsibility and ability to create excellent works that focus on the new era, reflect the new life and show the new style.
Mr. Huang Zhou is a famous Chinese painting master and the pride of our nation. He devoted himself to art all his life, insisted on going deep into life, rooted in the people, and took life as the only source of literary and artistic creation. He walked out of the "small self" and threw himself into the "big era". His works reflected profound social concern, realistic concern and ideological pursuit, and is still a model for the majority of art workers to learn. In the cultural exchange with foreign countries, it should be the important duty of cultural workers to send excellent works to the mainstream platform of international art and let the world see the spirit of The Times and cultural atmosphere of contemporary China. Chinese and English master of Contemporary Chinese Painting -- Huang Zhou is jointly published by Yan Huang Art Museum and Princeton Art Museum. In the book, some of Mr. Huang's excellent works reflect the new life and show the new style. The author believes that the book is a classic work dedicated to the readers at home and abroad to carry forward and develop China's excellent national culture.
Huang Zhou was not only a great painter, but also a great educator and businessman. He founded the Arts and Crafts Research Institute for the Ministry of Light Industry, founded the China National Academy of Painting for the Ministry of Culture, founded the first private and publicly funded Yan Huang Art Museum in China, dedicated himself to the protection, research and development of Chinese art, and wasted his precious life! In 1964, Chairman MAO Zedong talked about Chinese art masters when meeting international friends, from the eight eccentric artists in Yangzhou in qing Dynasty to Qi Baishi, xu Beihong and Huang Zhou. He pointed out in particular, "Huang Zhou is a promising young painter cultivated by new China. He can paint our people." However, the author believes that the evaluation of Mr. Huang Zhou in today's art circle is far from in place. He is a tree, a monument and a peak of Oriental art mountains. At present, Huang Zhou calligraphy and painting has been at the peak of calligraphy and painting collection, which is beyond the limit, and its collection value can no longer be measured by money.
After Ren Bonian, a bright and dazzling star rose in the late Qing Dynasty maritime painting circle. His painting style led the fashion of painting circle, swept the north and south of China, and even Japan across the sea was deeply influenced by him, wu Changshuo. Wu Changshuo has profound attainments in poetry, calligraphy and seal characters, among which painting is the highest achievement and the greatest influence. In particular, his technique of freehand brushwork and the perfect combination of poetry, calligraphy, painting and printing had a great influence on modern painting and pushed 20th century literati painting to a new peak. Qi Baishi once praised, "The eight green vines are far away from all fetuses, but can not be the old and old talent. I would like to be a running dog, three doors under the wheel." It can be seen from the high evaluation.
Wu Changshuo stone chrysanthemum picture
This ammonites is wu Changshuo's freehand brushwork in his later years. It depicts a huge boulder with several branches of thin chrysanthemums standing beside the boulder. At the top is a cluster of dark red chrysanthemums and at the bottom is yellow chrysanthemums. The lower left of the picture is a cluster of yellow chrysanthemums, and the upright red chrysanthemum in the upper right corner echoes each other. The whole picture of ink vigorous and composed and smooth and dripping dripping, composition regardless of the old method, clever in setting up the old cloth. The autumn chrysanthemum in the painting hangs from the top, graceful and graceful, full of wit and fun. Chrysanthemum is wu Changshuo's favorite theme, because chrysanthemum has the resistance to frost bone, can bloom in the wind after the general fragrance, colorful. Chrysanthemum branch pen melt grass seal in a furnace, hun jin Lao Lao, miscellaneous but not disorderly, line "zhouqi" can most reflect its calligraphy and painting interlinked long. Old dry tall and straight, vigorous new branches, flowers, fragrant gas fluttering in the brow.
Looking at the whole picture, Wu Changshuo shows ingenuity in the location management of the picture. Wu Lao Fou's paintings were good at arranging and breaking risks. This "Ammonite map" he adopted the way of expression of false and real, odd and stable, on the one hand, it broke the pattern of previous chrysanthemum painting, its own pattern; On the other hand, with his unique control ability and skillful expression technique, the painting forms the integration of pen, ink and water, which achieves the unity and harmony of rich changes and various correspondences. It not only reflects the vitality of the chrysanthemum, but also expresses the poetic interest of forgetting both things and me. He was especially good at writing wonderful poems on his paintings, often producing lines that resonated with the picture according to its needs. The poem in the painting says: "Years of white east hedge old, planted chrysanthemum as big as bucket, drink to the jade bottle sangluo wine. This painting looks perfect, red chrysanthemum, has the meaning of good luck, collection value is inestimable.