【深圳雍乾盛世展出“珍宝”一十一件-小黑说娱乐】-社线网

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深圳雍乾盛世展出“珍宝”一十一件

以下图文来自微信公众号:【小黑说娱乐】

原标题: 深圳雍乾盛世展出“珍宝”一十一件

半版,展架,拉页

秋山飞瀑春居图·黄宾虹

名称:秋山飞瀑春居图·黄宾虹

年代:近代

规格:137cm*68.3cm

此画作以山水笔墨的“黑,密,厚,重,”即笔墨数十重,层层深厚,有灰墨交辉的泼墨重彩手法;以及纯用线条的焦墨渴笔;体现出水韵墨章;元气淋漓的水墨山水;繁简疏密统一;用笔如作篆榴;酋劲有力,在行笔谨严处;有纵横奇峭之趣;画风苍渾华滋,意境深邃;画中精品;具有很高的收藏价值.

作者简介:

黄宾虹(1865 年1月27日--1955 年3月25日),原籍安徽省徽州(今黄山市)歙县,生于浙江金华,成长于老家歙县潭渡村,初名懋质,后改名质,字朴存,号宾虹,别署予向、虹叟、黄山山中人。近现代著名画家、学者。擅画山水,为山水画一代宗师。六岁时,临摹家藏的沈庭瑞(樗崖)山水册,曾从郑珊,陈崇光等学花鸟。精研传统与关注写生齐头并进,早年受"新安画派"影响,以干笔淡墨、疏淡清逸为特色,为"白宾虹";八十岁后以黑密厚重、黑里透亮为特色,为"黑宾虹"。

他的技法,行力於李流芳,程邃,以及髡残,弘仁等,但也兼法宋、元各家。所作重视章法上的虚实、繁简、疏密的统一;用笔如作篆籀,洗耳恭听练凝重,遒劲有力,在行笔谨严处,有纵横奇峭之趣。所谓"黑、密、厚、重"的画风,正是他显著的特色。他的书法"钟鼎"之功力较深。其画风苍浑华滋,意境深邃。偶作花鸟草虫亦奇崛有致。曾在北京、杭州等地美术学院任教、任中国美术家协会华东分会副主席。著有《黄山画家源流考》《虹庐画谈》《画法要旨》等。

著有《陶玺文字合证》、《古印概论》、《古籀论证》、《古文字释》、《古画微》、《虹庐画谈》、《鉴古名画论》、《黄山画家源流》、《画法要旨》、《宾虹草堂印谱》、《画学编》、《宾虹杂著》、《宾虹诗草》等。

球状颗粒火星陨石

名称:球状颗粒火星陨石

Name: Spheroidal Martian meteorite

规格:重:2.165kg

Specification: weight: 2.165kg

介绍:此藏品为球状颗粒火星陨石,有大断面及表面溶解的风化壳体,外表总体为深褐色(高分子碳化物),其上为黑褐色,下部为黑色带状;断面下部为灰黑色(坠落形成前其遭受大的冲击碰撞才使若干相似矿物发生混合与拼贴吸积在一起的,所以出现了多结构多颜色的现象)有棱有角,有显著的铁锈泛沁痕迹,密度较高,质感较好,高温高速高压形成的溶壳已经大部被风化,坠落时间较久熔壳已不明显了,但烧蚀痕仍然显著,其烧蚀气印极为标准显著,但仍有局部残留,外表面有球状颗粒突起,局部泛锡光,微量元素及其丰富,由于是未翻滚的坠落,其燃烧火苗向上反卷反复烧蚀,烧蚀部位出现了不规则燃烧边,燃烧处便出现多而密集的大小洞状气印,向上为标准的磷片状烧蚀纹极为特殊显著。

This collection is a spheroidal Martian meteorite with large section and surface dissolving weathering shell with dark brown (macromolecule carbides) on the surface, black brown on the surface and black band in the lower part, and gray black in the lower part of the section. The collage has been accreted together, so there is a multi structure and multi color phenomenon. The standard is remarkable, but there are still some local residual and spherical particles on the outer surface, the local Fan Xiguang, the trace element and its rich. Because it is not rolling down, the burning fire is repeatedly ablated from the upward reverse roll, the burning part appears irregular burning edge, and the burning place appears more and more dense size hole type gas imprint, upward as the mark. The desired phosphorous flake ablative lines are extremely remarkable.

此类陨石存世稀少,是陨石科研异常珍贵的标本。身在中华大地,我们收集到它的可能性极小极小。在人迹匆匆的地方,我们很难收集到这类陨石。就连我国的罕有人迹的沙漠地带,也很难搜寻到它的身影。

Such meteorites are rare and rare specimens of meteorite research. In China, we have very little chance of collecting it. It is difficult for us to collect such meteorites in places where people are in a hurry. Even the rare deserted desert areas in China are hard to find.

在富豪新贵们在收藏钻石、艺术品、豪宅之后,从天上掉下来的陨石——这种稀有的天外来物正成为他们收藏的新宠。为了彰显自己的独特品位,他们把眼光放在了陨石市场。于是中国的新富阶层正在掀起一股在全球市场花高价购买陨石的热潮。对他们而言,陨石的体积越大越好。在他们眼中,汽车再也是由人制造的,但陨石却是地球上的,是人力无法创造的,是来自外太空的瑰宝,珍稀无比。

After the rich and new people are collecting diamonds, art, and mansions, the meteorites that fall from the sky - this rare day foreign object is becoming the new favorite of their collection. In order to show their unique taste, they put their eyes on the meteorite market. So the new rich class in China is launching a craze for buying meteorites in the global market. For them, the larger the size of the meteorite, the better. In their eyes, the car is made by people, but the meteorite is on the earth, is the human can not create, is from outer space treasure, rare.

中华民国二年军政府造四川铜币

年代:民国

Age: the Republic of China

规格:重7.2g 直径28.3mm

Specifications: heavy 7.2g diameter 28.3mm

介绍:民国时期四川铜币的三种铜币正面正中为“四川铜币”4 字,中间为海棠花图案,上眉为“军政府造 ”,下为币值字样“当制钱十文”,脊面上为年份“中华民国二年” ,中间有个圈,圈内有篆阳文“汉”字,大圈外环18个小圈,象征独立的18行省。民国二年,添铸当一百和当二百文的铜币,前者规格与当五十相同,仅仅版面略大;后者则不同,币面正中一个圈,圈内为嘉禾两穗环绕,中为大写汉字币值,上眉“中华民国二年”,下为“四川造币厂造”

Introduction: the three copper coin of the Republic of China during the Republic of China was the 4 word of "Sichuan copper coin" in the middle of the three copper coins. The middle was the flower pattern of the Begonia, the upper eyebrow was made by the military government, and the value of the currency was "ten articles for making money", and the ridges were "the two years of the Republic of China" on the ridge. There was a circle in the middle. There were the characters of the seal Yang Wen "Han" in the circle, and the outer ring 1 of the big circle. 8 small circles, symbolizing the independence of the 18 provinces. In the two years of the Republic of China, adding one hundred and two hundred articles of copper coins, the former is the same size as fifty, and the latter is slightly different; the latter is different, the coin face is in one circle, the circle is surrounded by Jiahe two panicles, in the currency value of the Chinese characters, the upper eyebrow "the Republic of China two years", and the "Sichuan Mint factory".

四川铜币,晚清和北洋时期四川省地方政权铸造的货币。由于川省银铜矿缺乏,加之辛亥革命以后军阀割据,致使中央政府《币制条例》关于铜币之原料比例、铜币面额的规定没有严格遵守,四川铜币发行量十分巨大,致使物价虚高、影响经济发展。四川铜币,自光绪二十九年(1903年)六月开铸,至民国二十四年(1935年)十一月法币开始流通才逐渐退出流通领域 。

Sichuan copper coins, the currency of the local authorities in the late Qing Dynasty and the northern Sichuan era. Due to the lack of silver and copper mines in Sichuan Province and the military separatist after the 1911 Revolution, the central government's currency regulations have not strictly observed the proportion of raw materials and the amount of copper coins, and the circulation of copper coins in Sichuan is very large, resulting in high prices and economic development. Sichuan copper coin, since twenty-nine years Guangxu (1903) in June cast, to the Republic of China in the twenty-four year (1935) November currency began to circulate in circulation gradually.

铜币成色,按照清朝及北京民国政府的规定,当5文、当10文、当20文的铜币,都是铜占95%,锡铅占5%。但是由于铜矿缺乏,军阀混战,遂致铜币质量越发糟糕。

According to the regulations of the Qing Dynasty and the Republic of Beijing, copper coins accounted for 95% and tin and lead accounted for 5% when 5 texts, 10 texts and 20 articles were used. However, due to the lack of copper and warlords, the quality of copper coins was even worse.

全国通用粮票一组

名称:全国通用粮票一组

年代:近代

规格:一组25张 规格不一

介绍:此藏品为“全国通用粮票一组”,此粮票为1965年发行,上方为“中华人民共和国粮食部”,几字下为“全国通用粮票”,字体下方为币值“伍市斤”、“叁市斤”、“壹市斤”,“半市斤”,背面为粮票的使用说明。1965年由中华人民共和国粮食部发行的粮票,绝版纸票日渐稀少的当代,此类粮票极具收藏价值。

粮票自身是没有价值的票证,但凭粮票可买到国家牌价粮食,实际上粮票成了一种有价证券。粮票的面值等于国家牌价粮价与市场价之差。1993年后中国已取消使用粮票,粮票很快进入了收藏品的行列,全国集“粮”爱好者也在不断扩大。近两年在香港、澳门特区和欧美一些国家高价购买竞相收藏中国粮票中的珍品。

随着时间推移,集粮热的升温,粮票收藏品市场也必将上扬。只要掌握好收藏粮票的基本原则,投资收藏粮票前景十分可观。粮票曾作为中国的第二“货币”,在中国历时40年,它反映了中国各个历史时期的社会经济状况,有较为重要的研究价值和收藏价值。

粮票是特殊经济条件下的历史产物,票面题材广泛,印制精细,具有时间性、地域性的特点。经年累月的岁月侵蚀,更使这种具有不可复制性的票证文物日渐稀少,珍品迭出,长期为海内外收藏爱好者所瞩目。

汝窑冲天耳三足炉

名称:汝窑冲天耳三足炉

年代:元代

规格:重0.585kg 口径12cm 高11.5cm

介绍:此炉仿汉铜炉造型,器形规整,仿古逼真,通体施以天青釉,釉质滋润,釉面细腻,釉水亮丽,釉层肥厚,釉色丰腴莹润,造型稳健秀雅,胎釉结合紧密,胎色纯正,釉面开细碎片纹,釉色莹润光洁,浓淡对比自然。汝窑一向被人们列为宋代五大名窑之首,汝窑原为民窑,北宋晚期开始为宫廷烧造高档瓷器。宋徽宗执政时期,汝窑是其烧造史的全盛时期,其产品胎质细腻,灰中泛黄,俗称“香灰黄”,汝瓷釉面有细微的开片,釉下有稀疏气泡;汝窑青瓷釉色淡青高雅,造型讲究,不以纹饰为重。汝瓷釉中含有玛瑙,汝窑以温润的天青釉色被誉为青瓷之冠,风格独具。

Introduction: this furnace imitation of the Chinese bronze furnace shape, the shape of the device is regular, antique realistic, the body is applied to the sky green glaze, glaze moistening, the glaze is delicate, the glaze water is bright, the glaze is thick, the glaze is rich, the mold is solid and elegant, and the fetal glaze is closely combined., the fetal color is pure, Glaze open fine debris pattern, glazing clear, light contrast natural. The kiln has always been listed as the first of the five famous kilns in the Song Dynasty. The kiln was originally a kiln for the people. In the late Northern Song Dynasty, it began to burn high-end porcelain for the court. During the reign of Emperor Huizong of the Song Dynasty, the kiln was the heyday of its history of firing. Its products were delicate in fetal quality and yellowish in ash, commonly known as "fragrant gray yellow". The enamel glaze had fine cuts, and there were sparse bubbles under the glaze; Youyao celadon glaze color is light and elegant, style is particular, do not focus on decoration. The enamel glaze contains Agate, and the kiln is known as the crown of celadon with a warm green glaze.

双桥耳,耳孔呈椭圆状,腹部扁鼓,下承三乳足。炉款工整秀美,铸工精细准确。包浆温润,宝气内蕴,自有一种雍容华贵的气质。炉折沿,短颈,扁圆腹,下承以三足。肩部饰凸起弦纹一道,腹部与三足对应处饰有三条凸起的直线纹。此炉釉色为典型的梅子青色,青翠幽雅。炉腹至足部凸起的三条棱线原系仿青铜器的装饰纹样,因凸起处釉层较薄,呈浅白色,形成了出筋的装饰效果,翠玉般的釉色中显露出数道规整的白线,分外醒目。

Double bridge ears, ear holes Oval, abdomen flat drum, under the three milk feet. The furnace is neat and beautiful, and the Foundry is precise and accurate. The pulp is warm and mellow, and it has its own temperament. Furnace fold, short neck, flat round abdomen, under the three feet. The shoulders are decorated with raised strings, and there are three raised straight lines corresponding to the abdomen and three feet. This furnace glaze color is a typical plum cyan, green and elegant. The three Prismatic lines raised from the hearth to the foot are originally decorated with bronze wares. Because the glaze layer at the raised part is thin and light white, the decorative effect of the tendons is formed. The emerald glaze color reveals several regular lines. White lines, eye-catching outside.

参照皇府内藏的汝窑、哥窑、钧窑、定窑等所产瓷器款式,及《宣和博古图录》、《考古图》等史籍,铸造香炉。为保证香炉质量,宣德皇帝要求铜的精炼次数不能少于十二次,铸造师挑选了金、银等几十种贵重金属,与红铜一起经过十多次精心冶炼,在宣德三年共铸造出3000座香炉,以后再无出品,这些香炉,绝大部分陈设在宫廷,少数被赏赐给皇亲国戚近臣和一些庙宇。因传世极少,弥足珍贵!具有很高的艺术价值

Refer to the porcelain styles produced by the imperial kiln, geyao, quanyao, Dingyao, etc., and historical records such as Xuanhe Bogu Tu Lu and Archaeological Map, and cast censer. In order to ensure the quality of the censer, Emperor Xuande demanded that the number of copper refinements should not be less than twelve times. The Foundry selected dozens of precious metals such as gold and silver, and together with the red copper, they had undergone more than ten careful smelting. In Xuande, a total of 3,000 censer were cast in three years, and no further production was produced. Most of these censers were set up in the court, and a few were given to the royal family Qi Jinchen and some temples. Because it is rare and precious! Has a high artistic value

三彩博古图盘口赏瓶

名称:三彩博古图盘口赏瓶

年代:大清乾隆年制

规格:重2.285kg 口径13cm 高15.1cm

介绍:此瓶撇口,长颈,圆腹,圈足。色彩清雅,画工细腻,瓷质白细,釉面润泽,造型规整,画工老辣,釉水明亮,老器如新,其釉面亮青肥腴,彩料细润,色泽浓艳厚实,纹饰洒脱自然,十分突出。出现釉上蓝、水绿、淡红等色,色彩多但纹饰淡雅、疏朗、清秀,即使纹饰繁密,亦布局合理得当,边饰讲究,绘画精细。 "三彩是瓷器釉彩的珍品" 画面内容是博古图故事,近十几年拍卖未见此类物件.

乾隆时期是中国陶瓷史上三彩制作繁荣的时代。不仅表现在器物数量超过以往任何一个时代,而且在器物造型、装饰技法、图案纹样、色彩的变化上都获得了空前绝后的成就。在拍卖市场中,三彩受到藏家推崇。它色彩高雅古朴,内容多姿多彩,人物、花卉、花鸟、荷花等为常见。在近十几年来,国内各大拍卖会上拍的各类素三彩加到一起也不到500件,具有很高的收藏、观赏、艺术价值。

中华民国三年壹元银币

“袁世凯像背嘉禾银币”银币的正面图案,中间为袁世凯戎装左侧面像,民国3年版 的上方为“中华民国三年”,民国8、9、10年版的为“中华民国*年造”;背面图案均是两株交叉的稻穗,中央为“壹圆”、“中圆”(伍角)、“贰角”、“壹角”字样,后几种上方分别有“每二枚当一圆”、“每伍枚当一圆”和“每十枚当一圆”的字样;正面镌袁世凯侧面头像及发行年号,背面铸嘉禾纹饰与币值,袁世凯像背嘉禾银币[2] 的官版的成色为96%;[3] 该币的外环主要是直齿边,另外,还铸有少量工字边和花齿边。在该系列币中,民国3年、9年、10年等一元币较为常见,民国八年的则较少些。但是,在民国三年的“袁世凯像背嘉禾银币”中,袁世凯“签字版”则出类拔萃地被收藏爱好者所钟爱。一类是民国三年天津造币厂试铸的意大利制版人的英文签字版;另一类是袁世凯的左侧面像后颈部位的签字版(大写英文L·GIORGI)。以上两类(5种)均为样品币,未曾正式流通使用,所以存世不多。

民国三年。北洋军阀政府正式铸造袁世凯头像银币。先在 津造币厂铸造袁世凯像背嘉禾银币壹圆银币。后在南京广东武昌等造币厂陆续铸造。民国时期。军阀混战。各地军阀纷纷私铸袁世凯像背嘉禾银币。导致存世的袁世凯像背嘉禾银币质量良莠不齐。而袁世凯像背嘉禾银币金币。多作为纪念币。铸造量甚少。存世量极罕。

一些币友询问为什么真品的珍品币近来却卖不出好价钱呢?笔者思索其中主要原因是银币中,尤其是高档银币中各种材料和手段制造的仿伪品太多,几乎占了90%以上。尤其是近年来以激光照排制版为手段,以真银子造的“珍稀”假银币不但屡见不鲜,而且其“真实”、清晰“度等,比真币还要”真“!人们真假难分,使许多人上当受骗;另外,真正的收藏爱好者因财力有限,明知是枚好币,但因囊中羞涩,只能望币兴叹等,这便是珍品币卖不出好价钱的主要原因。所以,实际价值、”参考价“与售价的关系也并非一成不变的,所谓”货卖买家“,其中也有一些运气的成分,一般情况是拍卖会上的价格比较可观。

山水村居图.关山月

名称:山水村居图.关山月

年代:现代

规格:长138cm 宽69cm

介绍:此图秀丽之景,树木丛生生机盎然,房屋掩映于平坡山脚下。画面构图饱满疏密相宜,可谓是疏可走马密不透风。山体结构清晰简练,先以线勾勒山石树木,敷以赭石色,墨色润雅,淡墨皴写,按结构层层加叠,最后以浓墨勾皴点苔,使整个画面具有苍茫湿润、轻灵爽利的特殊效果。以山石为主,人物只占很小的位置。马轼采用抬高视点的取景方法,布局由近及远,造境幽邃清旷,为观者提供了“游目骋怀”的深远空间。画幅上方的主峰,奇而不觉突兀,山石峭峰直上,远山笼罩在一片迷蒙的雾中,准确而又充分地表达了作者独特的感受,不仅强调自然山水体貌结构的规律,而且还特别去发现和塑造山水优美的艺术形象。笔力劲爽含蓄、灵活秀润,无雕琢刻画与粗莽恣肆之弊。从构图和立意上,画家着重墨色浓淡变化,笔锋细劲,设色淡雅。人物虽小,但真实具体,各尽其态。山水景物皆以尖劲利落的细笔勾出,山石用小斧劈皴法,坚凝沉着,棱角分明,以皴点加淡青绿色画出半明半暗的效果,很好的表现了峰峦的质感。树亦以小笔勾点而成,整幅作品呈现着烟云浩淼、葱郁深秀、意境优雅的韵味,形成了秀逸而不媚弱,清劲而不霸悍的风格。此作气韵生动,笔墨明镜疏淡,极具投资收藏价值,可悬挂在会所、酒店、客厅、茶室等地。

上海县曹平壹两银饼

名称:上海县曹平壹两银饼

年代:清咸丰

规格:重:36.7g 直径:40.8mm

介绍:咸丰六年上海“商王永盛匠万全”银饼一枚,银饼上“万全”匠名,以示对成色与重量负责,“万全”存世稀少,论其稀少程度,近代著名钱币鉴藏家张璜在其著作《中国银圆及银两币目录》中说道:“作者亲近中国钱币近一甲子与此币之真品缘吝一面,虽屡经追求一真品之照片或拓片亦未能如愿。”此次上海银饼出现且品相均属完美,部分带有原铸银光,实属可遇而不可求。

上海银饼在一百五十年前发行,虽然仅仅是昙花一现且无实质影响,但它是中国商埠重镇上海地区最早自制的银元,也是中国现存最早以两为单位的银元,具有特殊的历史性意义。此银饼由号商所造,号商即沙船商,从事沿海运输,对上海港的形成与发展有重大作用,同治年成立轮船招商局后开始没落。上海银饼因制作方法简陋,一经发行赝鼎百出,以致信用失墬,旋即宣告废止,多数回炉铸锭,因此存世量极少。全套共六枚,计壹两四种五钱两种,由郁森盛、王永盛、经正记三家号商发行及平正、万全、丰年、王寿四名工匠造,其中以“商王永盛,匠万全造”最为罕见。

Xianfeng six years in Shanghai "shang Wang Yongcheng artisan sure-fire" silver cake, a silver on the cake "one-size-fits-all" artisan, as a responsible for colour and weight, "one-size-fits-all" exiguous, theory of its rarity, famous modern COINS as collectors Zhang Huang in his book in the catalog of Chinese silver dollar and silver coin, said: "the author close China coin nearly a jia and streamline the authentic of the currency, is the pursuit of a genuine photograph or rubbing repeatedly failed to fulfill a wish." The appearance of Shanghai silver cake and the appearance of perfect quality, part of the original cast silver light, it is not available.

设色工笔“十二生肖图”刘奎龄

名称:设色工笔“十二生肖图”刘奎龄

年代:1916/民国

规格:长127.6cm 宽64.1cm(规格统一)

Name: color pen "12 zodiac map" liu kui ling

Year: 1916/ republic of China

Specification: 127.6cm long and 64.1cm wide (uniform specification)

介绍:他用通过两只老鼠在黄橙橙的树下嘻嘻的场景,用老鼠的机敏和灵透及葫芦谐音福禄,来表现智慧勤劳与五福临门的创作主题。用垂柳依依和篱笆里的辛勤劳作而栖的耕牛,来表现通过劳动致富扭转乾坤的思想。两图合一彰显出智慧和勤劳的第一组的愿望和期待。

Introduction: he showed the creative theme of wisdom and diligence and five blessings through the scenes of two rats playing happily under the yellow and orange trees, and the mouse's nimbleness and nimbleness as well as calabash's homophone fu lu. With the weeping willows yiyi and the hard work in the fence and perched on the farm cattle, to show through the work of wealth to turn around the thinking. The unity of the two figures highlights the wishes and expectations of the intelligent and diligent first group.

通过上山虎的威猛与高傲,展现的是敢于争先虎踞群兽的雄风。用篱笆架下的花白、花黑两只瞪着警觉眼睛的兔子,彰显的是谨言慎行的才能获得的玉兔呈祥。两图合一,表现的是前人所提倡大胆心细的为人做事的原则。

Through the fierce and haughty tiger up the mountain, show is daring to contend for the powerful wind of the tiger. The white and black rabbits under the fence stand, with alert eyes, are a symbol of the cautious can get. The combination of the two figures shows the bold and careful principles advocated by the predecessors.

龙的刚猛和呼风唤雨的勇往直前来表现一种大气;用树丛里的警觉柔美相对而望的小蛇来表现低调柔和。两图合一,突出了我们先哲们低调做人高调做事、刚柔并济的原则。

The dragon's steel and the rain-calling of the courage to go forward to show a kind of atmosphere; Use the alert and gentle in the bush to look at the small snake to show the low-key gentle. The combination of the two figures highlights the principle of keeping a low profile and doing things with a high profile.

用两匹枣红两匹马结伴而立,来表现马的聪明、勇敢、忠诚、耐劳勇往直前飒然千里四蹄风豪迈;又用风影下的两只羔羊,来表现羊的温顺、团结和睦的三羊开泰的国泰民安。两图合而为一,彰显的是中华民族团结和睦积极向上勇往直前的民族气节和国家精神。

With two red jujube two horses stand side by side, to show the horse's intelligence, courage, loyalty, endurance to march forward courageously heroic. With two lambs under the shadow of the wind, to show the meekness, unity and harmony of the three sheep kaitai peaceful. The combination of the two pictures demonstrates the national integrity and national spirit of the Chinese nation, which is active and progressive in unity and harmony.

用两只攀岩与山林一母一子两只猴子来表现母爱无疆的爱子图,将猴子灵巧、聪明、机敏、有爱的性格表现来;又通过树下仰头独立的鸡来恒定坚持,富贵天下的盛世图景。两图合而为一,恒定持久圆融和谐的国富民强盛景。

Two climbers, a mother and a son, two monkeys were used to show the boundless love of their mother. Also through the tree under the independent chickens to hold constant, the prosperous world picture. Two pictures combined, a constant lasting harmony of the country rich and strong prosperity.

通过看家狗和石榴满枝,来表现狗的忠诚和家富丁旺的祥和景象。又用肥猪嘟嘟的憨态可掬与秋季的田园风景,来表现丰顺连年。两图合而为一,中国人最具代表性的“外圆内方,君子和而不同”底色。

Through the house dog and pomegranate full branch, to show the dog's loyalty and the home prosperous auspicious scene. With fat pig dudu simple and easy attitude and autumn rural landscape, to show the years of fengshun. The two pictures are combined into one, and the most representative color of Chinese people is "outside circle inside square, gentleman and different".

他在十二生肖图的创作中不仅赋予了每个动物传神的造型,更靠着高超的画技、用笔纤细贻不见墨迹,在突出富丽工巧的同时,一直遵循着以意为据的传统中国画的造型观,使之笔有笔法,墨有墨趣,更通过故事性的嵌入,为每幅画作赋予了神韵和精彩,。同时他十分讲究笔墨的精准内涵,笔法凝练厚重,突出作品的思想性、趣味性,实现了作品的艺术性与审美性的统一,让他的作品爱看、耐看、受看基础上,更增加了视觉想象上的延展性和开放性,这也许正是画家一直崇尚“万物静观皆自得”心境的一种回归。

通过刘奎龄的十二生肖图,我们可以看到他工笔画的创作历程,和他的艺术之树枝繁叶茂的一面。作为工笔画的系列作品,孟先生用一幅幅画作表现中国传统12生肖纪年,但是透过画作则是表现的是中国传统礼教下的伦常关系,是其在更是在张扬着“外在之礼和内在之仁”的儒家思想。他的每一幅画作都突显着最具中国味的民族精神,同时还在一个侧面凸显了孟庆柱先生为人忠厚、实在做事的艺术家风范。因此,他的画无论是构图、设色、还是线条、章法都表现的中规中矩、一丝不苟,“以精取胜,精益求精”的创作思想,既清风徐徐,又淡雅古趣,不但笔笔入纸,而且留得住,提得起,具有劲健圆浑,高古扎实之感,其用笔之纯、之实,正是体现了他的修为和人品。

He not only in the creation of the Chinese zodiac chart gives each animal vivid modelling, with superb painting, fine who brings invisible ink pen, is the outstanding richly books at the same time, has been followed by ZaoXingGuan meaning according to the traditional Chinese painting, make the pen has brushwork, ink with ink, more through the embedded narrative, for every painting gives the verve and wonderful,. Accurate connotation, at the same time he is extremely careful about ink brushwork concise massiness, outstanding works ideological content, interest, realize the unity of artistic quality and aesthetic, let his work like, able to bear or endure look, ShouKan basis, added the ductility and openness of the visual imagination, this may be the painter has been advocating "everything contemplation are complacent" state of mind of a return.

Through the 12 zodiac drawings of liu kuiling, we can see the creation process of his meticulous brush painting and the flourishing side of his art tree. As a series of works of fine brushwork, Mr. Meng used one painting to represent the 12 Chinese zodiac years. However, through his painting, he showed the relationship between ethics under the traditional Chinese etiquette, which was more the Confucian thoughts of "external ceremony and inner benevolence". Every one of his paintings highlights the national spirit with the most Chinese flavor, while in a side, it also highlights Mr. Meng qingzhu's loyal and honest artistry. Therefore, his painting composition, color, or line, the composition is fairly, meticulous, the creation of the thought of "to win, keep improving", was a breeze, and quietly elegant of antiquity, not only the bolt into the paper, and to retain, affordable, with cheng du jin jian roundy, ancient solid feeling, the reality of the pure, pen, it is reflected his repair and personality.

设色工笔北堂眉寿图.郎世宁

名称:设色工笔北堂眉寿图.郎世宁

年代:清代

规格:长60.5cm 宽30.5cm

介绍:此幅作品中前人痕迹消褪,个人风貌凸出,“蜜成花不见”,已经巧妙地将各家技法熔为一炉。具体的讲,碑质的线条是撑起整个画面的主要因素,也就是潘天寿所说的“以金石书画之趣作花卉”。这幅作品笔力雄浑,真气弥漫,即是得力于书法之用笔。笔墨之外,先生于用色也极为地道。凡颜色,严冬五日、炎夏隔宿都摒弃不用,唯恐时间久了会影响质量。由于对“古意”自有其独到的理解,反映到用色上,自然会产生由“浓艳”向“古艳”的审美转变。

这幅倘说其“艳”,便是“艳”得古,是“古丽”而非“浓丽”,加上“力足气厚”的用笔,真是潘天寿所说的“宏肆古丽”,这个词,是非常合适用来描述花卉风格的。在构图上很有气势,起笔从右上角开始,于左下角收势,形成对角的布局。在印面章法的安排上有着非凡的能力,由印及画,他的绘画构图能力自然也不俗。

《眉寿图》这种类型的作品之渊源可上溯至明后期。带有叙事性插画风格,高度程式化,易于把握画作的精髓。笔触真实生动的描绘小鸟、枯枝,像标本般精致。画面上方以柔和的色调为主,枯枝上的枝叶皆以颜色没骨点出,淡色的点点含蓄雅致,小鸟凝望远处,目光中流露无限情思婉转,在枝干上尽显优雅。画面下端的绿色枝叶和红色果实更是富有生气,充分表现出枯枝新绿、欣欣向荣之意。在构图上既将老枝向上引去,使画面平衡稳定。

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