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徐生翁 行书《晏子春秋》等古书语四条屏 165×42cm×4 绍兴博物馆藏
2020年适逢徐生翁诞辰145周年，4月28日起至6月28日，“返朴归真——徐生翁书画精品展”在绍兴博物馆书画一厅开展。绍兴博物馆联合浙江省文史研究馆、浙江省博物馆、浙江美术馆、浙江图书馆、绍兴鲁迅纪念馆、绍兴市佛教协会及徐生翁先生后人，精选100余件徐生翁各时期的书法、绘画、篆刻等作品，展现徐生翁精湛的艺术成就。
展览策展人、绍兴博物馆副馆长、研究员沈一萍表示：“今年恰逢徐生翁诞生145周年，他是绍兴的重要文化名人，此次个展在全国尚属首次，许多展品更是第一次公开向社会开放，很值得一看。”沈一萍介绍到：此次展览筹备许久，绍兴博物馆在遴选馆藏精品的同时，向浙江省文史研究馆、浙江省博物馆、浙江美术馆、浙江图书馆、绍兴鲁迅纪念馆、绍兴市佛教协会等单位借展，更得到了徐生翁家属的大力支持，得以尽可能全面展现徐生翁书画艺术。
徐生翁曾随母姓，名李徐，字安伯，号生翁，中年署李生翁，晚年复姓徐。三易其名，也代表了他字画作品的三个时期。此次展览，主办方根据徐生翁的艺术创作风格分为三个部分：一、李徐时期（1875-1925年）：徐生翁幼年失学，25岁从周季贶学汉隶，30岁时其书画即为人所重。此时书法以隶书为重，融有汉简、吉金作风，结字修长紧凑，点画清俊挺拔。该时期绘画则受徐渭、赵之谦等传统绘画的影响，用笔畅快，略显生涩，喜用长线条和块面写意。绍兴名士王恕常（素臧）称之为“三百年来一支笔，青藤今日有传灯”。
二、李生翁时期（1926-1938年）：徐生翁成名后书法不宗一家，不断变化，雄奇险绝，气势夺人，他冀望冶百家于一炉开创自己书风和画风，作品多以“李生翁”署名。该时期绘画仍袭徐渭之风，不再铺垫环境，用笔写意，用色爽快。绍兴学者王瞻民称其“高情迈俗，古拙可爱。”
三、徐生翁时期（1939-1964年）：徐生翁晚年书法融百家之长，聚钟鼎籀篆之意，字体古拙，扁方而圆转，天然率真却又暗合上古趣味。陆维钊归纳为：“简、质、凝、稚”。该时期绘画以逆笔入纸，线条短而似涩别有趣味；用色仅为点缀，笔少而意足，恰与其古拙书风一致。野逸派画家沈红茶（寿朋）云：“其作画笔笔顿挫，笔笔转折，是稚子执笔，不为画而画者也。”
沈一萍表示，在策展过程中，随着与徐生翁作品的更多接触，与他媳妇、孙子等亲人的更进一步交流，感触良多，徐生翁的内心世界是很丰富的，特别是他刻苦钻研的精神，值得我们当代人学习。“通过看其书其画，希望观众能够看到他的精神世界，还有他的艺术风格。”
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