書畫是繪畫和書法的統稱。畫，是人們生活中創造的結晶。畫的起源久遠，有著豐富的意思，“畫中有詩，詩中有畫”，中國古代，詩與畫分不開。畫的作品也體現了作者的情感和思想，畫中常常包含著藝術家強烈的思想感情，因此藝術也深深地孕育在畫中。書，一說是書法，也就是俗話說的所謂的字，另一種觀點則認為書是指文化內涵。由此可知，書畫是指繪畫和書法，也可以理解為具有文化內涵的繪畫。
Painting and calligraphy is the collective name of painting and calligraphy. Painting is the crystallization of people's life creation. Painting has a long history and rich meanings. "There are poems in paintings, and there are paintings in poems." In ancient China, poetry and painting were inseparable. Paintings also reflect the author's emotions and thoughts. Paintings often contain artists' strong thoughts and feelings, so art is deeply nurtured in paintings. Books, on the one hand, are calligraphy, that is, words as the saying goes, while on the other hand, books refer to cultural connotations. It can be seen that calligraphy and painting refers to painting and calligraphy, and can also be understood as painting with cultural connotation.
古字畫在二十世紀90年代以前，其市場主要在美國紐約和香港、東南亞等地。美國紐約的古字畫價格在相當長的一段時期左右著中國古字畫行情。二十世紀80年代初，紐約市場上曾出現了元代大書畫家趙子昂的《蘭草和青草》，結果美國三藩市的華爾特與麥琳絲汀夫婦以36．3萬美元競得趙的作品，這個價格在當時已是天價了，一時震驚海內外。1989年，紐約佳士得推出了元代宮廷畫家集體創作的《秋獵圖》，結果受到了海外買家的熱烈追捧，以187萬美元拍出，創下當時中國書畫的高紀錄。
Before 1990s, the markets of ancient calligraphy and painting were mainly in new york, Hong Kong and Southeast Asia. The price of ancient calligraphy and painting in new york, USA has controlled the market of ancient Chinese calligraphy and painting for a long period of time. In the early 1980s, "Bluegrass and Grass" by Zhao Ziang, a great painter of Yuan Dynasty, appeared in the new york market. As a result, Walter and Melinda from San Francisco, USA won Zhao's works for $363,000, which was already a sky-high price at that time and shocked both at home and abroad. In 1989, Christie's in new york released Autumn Hunting Picture created by court painters in Yuan Dynasty, which was enthusiastically sought after by overseas buyers and sold for US$ 1.87 million, setting a high record for Chinese painting and calligraphy at that time.
到90年代中期，隨著中國內地藝術品市場的迅猛發展，中國古字畫開始扶搖直上，迭創新高。1995年北京翰海推出了北宋張先的《十詠圖》，一時成為海內外關注的焦點，此畫自清宮中流失百年已為世人所遺忘。當翰海拿到此幅作品時，引起了文物界的極大重視，中國內地著名書畫鑒定家徐邦達、啟功、劉九庵、傅熹年等看后愛不釋手，他們從繪畫風格技法、主題內容、筆墨情趣、古建服飾、紙絹材料、詩詞用字的歷史避諱、題跋圖章、歷史考證等多角度論證，一致認為是北宋張先名畫，世間孤品，國家重寶。于是一致呼吁北京故宮博物院不惜重金收購，后該作經過眾多買家的激烈競爭，以1980萬元的天價被北京故宮博物院收入囊中。
By the mid-1990s, with the rapid development of the art market in mainland China, Chinese ancient calligraphy and painting began to soar to new heights. In 1995, Hanhai, Beijing, published Ten Poems by Zhang Xian in the Northern Song Dynasty, which became the focus of attention at home and abroad. This painting has been forgotten by the world since it was lost in the Qing Palace for a hundred years. When Han Hai got this work, it attracted great attention from the cultural relics circles. After reading it, Xu Bangda, Qi Gong, Liu Jiuan and Fu Xinian, famous Chinese calligraphy and painting appraisers, loved it. They demonstrated from many angles, such as painting style and techniques, theme content, pen and ink taste, ancient architectural costumes, paper and silk materials, historical taboo of words used in poetry, inscriptions and seals, historical textual research, etc., and agreed that it was a famous painting by Zhang Xian in the Northern Song Dynasty, which was an orphan in the world and valued by the state Therefore, they unanimously appealed to the Palace Museum in Beijing to spare no expense to buy it. After the fierce competition among many buyers, the work was won by the Palace Museum in Beijing at a high price of 19.8 million yuan.
吳偉善畫水墨寫意、人物、山水。取法南宋畫院體格，筆墨恣肆，神韻俱，為明代中葉創新畫家。遠師馬、夏，近則“源出于文進”，但“筆法更逸”，用水更多，氣魄更大，布景造型也更簡括整體。用筆奔放，畫時潑墨如云，旁觀者駭，巨細曲折，各有條理，人皆為之嘆服。早年畫法比較工細，中年后變為蒼勁豪放、潑墨淋漓一格。
Wu Weishan painted ink freehand brushwork, figures and landscapes. Taking the physique of the Southern Song Dynasty Painting Academy as an innovative painter in the mid-Ming Dynasty, he was full of pen and ink and charm. Far away from the horse and summer, it is "originated from the literary progress", but "the brushwork is more relaxed", with more water and greater boldness of vision, and the scenery modeling is more concise and overall. The pen is bold and unrestrained, while painting, the ink is like a cloud, the bystanders are terrible, the twists and turns are big and small, and each is organized, which everyone admires. In the early years, the painting method was more meticulous, and in the middle age, it became vigorous and bold, splashing ink and dripping wet.
題材理念和取向上的不斷創新，加之日臻完美的非凡技巧，使得吳偉的畫不僅受到宮廷貴族的認可，也受到民間眾人的喜愛。一次，吳偉出游至杏花村，口渴得厲害，便向一位老婦人討茶喝。第二年又去時，發現老婦人已去世，感嘆物是人非，便憑記憶追繪其相貌，竟栩栩如生，以至于老婦人的兒子見后慟哭不已，并索取畫像小心收藏起來。
The constant innovation in the theme and orientation, combined with the extraordinary skill of perfection, make Wei Wu's paintings not only recognized by the court nobles, but also loved by the folk people. Once, when Wei Wu went out to Xinghua Village, he was so thirsty that he asked an old woman for tea. When I went back the next year, I found that the old woman had passed away, lamenting that things were wrong, so I traced her face from memory, and it was so vivid that the old woman's son cried after seeing it, and asked for the portrait to be carefully collected.
吳偉善畫水墨寫意、人物、山水。取法南宋畫院體格，筆墨恣肆，神韻俱，為明代中葉創新畫家。遠師馬、夏，近則“源出于文進”，但“筆法更逸”，用水更多，氣魄更大，布景造型也更簡括整體。用筆奔放，畫時潑墨如云，旁觀者駭，巨細曲折，各有條理，人皆為之嘆服。早年畫法比較工細，中年后變為蒼勁豪放、潑墨淋漓一格。其畫法與戴進相似，戴進畫山石用斧劈皴，“用筆注精凝神”，吳偉則橫涂直抹，似若隨意。其不少山水畫，每有較大的人物，其實是以山水為襯景的人物山水畫。畫中人物大皆氣宇軒昂，神情瀟灑，飄然物外，在與山水的結合中多能給人以簡勁放縱、水墨淋漓、氣勢磅礴又不流于粗俗的強烈印象。此類作品中《柳下讀書圖》和《梅下撫琴圖》可為代表。吳偉人物精于元人白描、南宋簡筆與唐吳道子用筆，所作有白描《武陵春圖》，旨在歌頌具有純潔高尚品格與堅貞愛情的，并寄予無限同情，在選材與立意上迥出時流，畫法也比較輕松隨意，線條簡勁流暢。
Wu Weishan painted ink freehand brushwork, figures and landscapes. Taking the physique of the Southern Song Dynasty Painting Academy as an innovative painter in the mid-Ming Dynasty, he was full of pen and ink and charm. Far away from the horse and summer, it is "originated from the literary progress", but "the brushwork is more relaxed", with more water and greater boldness of vision, and the scenery modeling is more concise and overall. The pen is bold and unrestrained, while painting, the ink is like a cloud, the bystanders are terrible, the twists and turns are big and small, and each is organized, which everyone admires. In the early years, the painting method was more meticulous, and in the middle age, it became vigorous and bold, splashing ink and dripping wet. Its painting method is similar to Dai Jin's. Dai Jin draws rocks with an axe, "using a pen to pay attention to the essence", and Wu Weize smears them horizontally and straightly, as if they were random. Many of his landscape paintings, each with a larger figure, are actually landscape paintings of figures with landscapes as a backdrop. Most of the characters in the paintings are imposing, natural and unrestrained, floating outside, and in the combination with landscapes, they can give people a strong impression of simplicity, indulgence, ink dripping, grandeur and not vulgarity. Among these works, "Liu Xia Reading Picture" and "Mei Xia Fu Qin Picture" can be represented. Wei Wu characters are good at sketching in Yuan Dynasty, simple pens in Southern Song Dynasty and pens in Wu Daozi in Tang Dynasty. They have sketched Wuling Spring Picture, aiming at praising those with pure and noble character and faithful love, and placing infinite sympathy. They are out of date in material selection and conception, and their painting methods are relatively relaxed and casual, and their lines are simple and smooth.
吳偉成名之后，在院內外職業畫家中影響頗大，是戴進之后的“浙派”名將，追隨者眾，形成興盛一時浙派山水中的“江夏派”。傳其畫法的有蔣嵩、張路、宋臣、蔣貴、宋澄春、王儀等。代表作品有：《采芝圖》、《仙蹤侶鶴圖》、《芝仙圖》、《溪山漁艇圖》以及白描《人物圖》、《神仙圖》等。
After Wei Wu became famous, he had a great influence among professional painters in and out of the hospital. He was a famous "Zhejiang School" after Dai Jin, followed by many people, and formed the "Jiangxia School" in the landscape of Zhejiang School which flourished at that time. Jiang Song, Zhang Lu, Steven Song, Jiang Gui, Song Chengchun, Wang Yi and so on. The representative works are: "Picking Zhi Tu", "Fairy Tales and Couples", "Zhi Xian Tu", "Xishan Fishing Boat Map", and sketching "Figures" and "Immortals".
此件藏品現在展賣于古玩行商城平臺中，據持寶人介紹說，這件字畫是祖上傳下來的。曾讓專家老師鑒定過，絕世精品。在本公司得知其有這件罕見珍品，特邀其持這件字畫參加，現持寶人因資金周轉困難原因。忍痛割愛愿將此件字畫委托本公司代其通過網絡媒體進行尋找買家。如對此藏品有興趣收藏者，可撥打企業聯系電話：400 686 3616進行洽談。
This collection is now displayed and sold on the platform of antique shops. According to the treasure holder, this calligraphy and painting was handed down from ancestors. It has been appraised by experts and teachers, and it is a peerless boutique. When our company learned that it has this rare treasure, we invited it to take this calligraphy and painting to participate. The current treasure holder is in difficulty in capital turnover. I am willing to entrust this calligraphy and painting to our company to find buyers through online media. If you are interested in collecting this collection, you can call the company's telephone number: 400 686 3616 for negotiation.
