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1、吳冠中 故鄉葦塘
註：「故鄉的桑園，故鄉的葦塘，姑姑舅舅的住房，記憶中故鄉的光景，處處相仿。」——吳冠中 "Note:" the mulberry garden in my hometown, the reed pond in my hometown, and the house of my aunt and uncle are similar in my memory." - wu guanzhong In the summer of 1981, wu guanzhong returned to his hometown yixing to sketch. He saw mulin weitang on the outskirts of yixing. His paintings were inspired by bai juyi's poem "thickly planting mulberry hemp". And then moved to color ink, write cost. This written about in the early eighty s, only QianYin, no department, until the ninety s, only by artist agency. In the picture, half planted mulberry forest and half surrounded by reed grass, the pond lies still in it, only to see colorful leaves floating, ducks swimming leisurely and skimming by, and jiangnan folk houses with white walls and black tiles faintly scattered behind. Artist works tracing strokes is "a half acre Fang Tang summary, skylight cloud wandering together", quiet and Ann and thriving environment, is undoubtedly the nostalgia of miss, also like "origin" inspiring its endless creative ideas." 2、林風眠 玉笛清音  这件作品可谓是他多年风格的集大成之作。画中的蓝衣仕女侧坐于轻纱幔帐前，发式类似未及笄的少女，双髻垂于耳侧。鹅蛋形秀丽的脸庞上有着纤细的眼睛、淡淡的弯眉和小小的嘴。她的姿态娴雅文静，眼睑低垂微微颔首，十指纤纤抚笛沉思。背景中的织物，先上重彩，再以特制细笔加白粉，营造出背光透明的纱质感。据1960年代与林风眠来往最密的学生潘其鎏回忆，多次得他教诲“两线之间的平涂，中间的色度最为难画”，这是林风眠取法敦煌壁画后得出的结论。 This work is a collection of his many years of style. The blue woman in the painting sits on her side in front of the veil of light gauze. Her hair is like a virgin hair, and her hair is hanging in a bun over her ear. The beautiful oval face has fine eyes, a slight curved brow and a small mouth. Her manner was quiet and graceful, her eyelids drooped and her head bowed slightly, her fingers taut and brooding. The fabric in the background, first on the heavy color, and then with a special fine pen add white powder, create a backlight transparent yarn texture. According to the 1960 s with Lin Fengmian closest students Pan Jiliu memories, many times he taught "flat, between the two lines in the middle of the color is the most difficult painting", this is the conclusion after determining the Lin Fengmian dunhuang murals. 3、南宋 吉州窑黑釉鷓鴣斑梅瓶  此梅瓶器形端秀，釉色斑驳，堪称江西吉州窰传世精品。乳白及赤褐色在棕黑釉上蜿蜒流动，是为吉州窰特色，但只有少数釉色斑纹如此流丽精巧，妙趣天成。且梅瓶大器甚少，此瓶比例精妙，器形流畅，属罕见珍品。此釉色又称鷓鴣斑，若琥珀色斑纹较多，则称玳瑁斑，乃吉州窰匠精心创製，工艺复杂。瓷匠须於器表均匀施釉，並隨意掺洒含高釉灰量之斑点，上品色斑浑然天成，有如鷓鴣翎羽或玳瑁龟壳。此类纹饰意仿自然，切合南宋文人意趣。 This plum vase has a beautiful shape and a brilliant glaze, which can be called potteries and potters of jiangxi province.Milky white and auburn in the brown and black glaze winding flow, is for the characteristics of jizhou potters, but only a few of the enamel mottled patterns so elegant exquisite, wonderful fun.And plum bottle very few big implement, the scale of this bottle is exquisite, instrumental shape is fluent, it is rare curiosa.This glaze is also called partridge, if amber mottled more, it is called hawksbill spot, is a potterer of jizhou potters elaborate creation, the craft is complex.The porcelain maker shall apply the glaze evenly on the surface of the vessel, and sprinkle the spots with high glaze ash content at will.This kind of decoration means imitating nature and suits the interest of literati in southern song dynasty. 4、南宋 建窯黑釉兔毫茶盞  兔毫者，舉世稀珍，釉色盈潤光潔，與建窯名品油滴相類，唯紋式有異。細觀兔毫其紋，纖俊秀逸，宛若清清細雨，隨雲起，破長空醉舞，飄然落，又如屢屢銀波，伴明月，邀靜夜輕風，拂水過。建窯兔毫，謙素而內斂，多為佛寺所用。黑盞鬪茶，擊拂見白花，清晰可辨，易於觀色，宋人盡皆追之。徽宗趙佶，鍾迷茶事，曾言道，「盞色貴青黑，玉毫條達者為上」。鐮倉日本，舶入大宋精髓，尚建盞、研茶道、修禪門，人盡奉之，以為致珍。 The rabbit is rare and rare, glazed, smooth and clean, and jianyao famous oil drops similar, only the pattern is different. The fine rabbit hair grain, fine elegant, like clear drizzle, with clouds, break the sky drunk dance, falling, and such as repeatedly silver wave, with the moon, invite quiet night breeze, flick water. Build kiln rabbit hair, modest element and introverted, used for buddhist temple. Black cup tea, whisk see white flowers, clear, easy to see color, song people are all chasing it. Huizong zhao ji, a fan of zhong's tea, once said, "the one who has good taste is the one who has good taste." Kamakura, Japan, into the essence of the great song dynasty, still build the cup, study tea ceremony, meditation, people to worship it, as a treasure. 5、天然翡翠配鑽石項鏈及耳墜套裝  翡翠的顏色自然而富於變化，鮮豔悅目，與自然界極為協調，代表著萬物生機勃勃與青春活力。翡翠的顏色比以往任何玉的顏色都要鮮豔，它的質地比任何玉的都細膩，它能像一顆晶體那樣透明，它的價值也是所有玉質中最高的，所以，人們稱它為“玉中之王”，深受東方民族尤其是中華民族的喜愛。附三十九張香港玉石鑑定中心證書（日期2009年9月28日）， 翡翠評定為天然「A玉」。 The color of jadeite is natural and full of change, bright and pleasing to the eye. It is in harmony with nature and represents the vitality and youth of all things. Jade color bright than it has ever been the color of jade, its texture than any of the jade is exquisite, it could clear like a crystal, the value of it is also the highest of all the quality of the jade, so people call it "the king of jade", was deeply loved by Oriental nation especially the Chinese nation.Attached is 39 certificate of Hong Kong jade certification centre (date: 28 September 2009), which is certified as natural "A jade". 6、清康熙 田黃雕雙龍戲珠紋隨形章  石質細膩瑩潤，隨形圓雕，留皮巧作雙龍戲珠，底無印文。雙龍身形矯健，雙目圓睜，張牙舞爪，威武凜然；祥雲縈繞，龍體若隱若現。壹側草書陽雕「溫其如玉」、「佶」；另壹側陽雕「懷袖之珍」、「吉人」橢圓印。本品碩大，巧手活雕，印墻陽文雕著名書法家林佶印款，可算清初田黃石雕至臻。騰龍戲珠，生動靈活，畫意濃溢，工匠細工慢琢，將繪畫精神轉化到三維圓石上，然不失原材獨有特質，巧妙創思，盡顯清初匠人鬼斧神工之技。印身保留原石雛形，因材而施，別具匠心，通體浮雕，自然流暢，起伏有致，猶如繪畫。如斯處理手法，與傳統有別。清初以前，不乏田石籽料，壹印之成，多為破方雕鈕。本品充分利用印身表面，施淺浮雕飾，取代傳統印鈕的裝飾功能。 Stone delicate ying run, with the shape of the vulture, leaving the skin for double dragon play beads, the end of no seal. Shuanglong is vigorous and vigorous, with round and open eyes, jaws and claws, and awe-inspiring force. Auspicious clouds lingering, the dragon looming. One side of the cursive Yang carving "wen qi ruyu", "ji"; On the other side of the Yang carving "sleeve of the treasures", "auspicious" oval seal. This product is huge, the skillful hand lives the vulture, prints the wall yangwen vulture famous calligrapher Lin ji to print the money, may calculate the early qing dynasty huangshidiao to zhen. Tenglong plays with beads, vivid and flexible, and the painting is full of meaning. The craftsman works slowly to transform the painting spirit to the three-dimensional round stone, but without losing the unique characteristics of the original material, ingenious and creative thinking, showing the craftsman's extraordinary skills in the early qing dynasty. India retained the original stone prototype, due to the material and implementation, do not show ingenuity, relief, natural and smooth, ups and downs, like painting. This is a different approach from the traditional one. Before the beginning of the qing dynasty, there is no lack of stone stone seed material, a seal into, many broken carved button. This product makes full use of the surface of the printing body and is decorated with bas-relief, replacing the decorative function of traditional printing buttons. 7、清乾隆 銅胎掐絲琺瑯纏枝蓮紋雙獸活環耳方壺  此蓮紋雙獸環耳方壺，琺瑯明艷鮮麗，器形取材高古青銅壺，細節設計反映乾隆帝尚古且喜好奇珍之品味。當朝造辦處玉作、瓷作、琺瑯作、木作之匠師，均得自宮藏古物中汲古創新。方壺紋飾設計，處處皆見巧心，壺上蓮華卷葉紋飾，可見極小的區塊亦細心填入多色琺瑯，漸色變化雅致精妙，足見匠師高技。 This lotus double beast ring ear pot, bright and beautiful, the shape of the ancient bronze pot, the detailed design reflects the Emperor Qianlong's ancient and curious treasures. When the masters of the work, such as jade, porcelain, enamel, and woodwork, were all inspired by the ancient relics of the palace. The square pot decoration design is everywhere, and the lotus leaf on the pot is decorated with leaves. It can be seen that the tiny blocks are also carefully filled with multi-color enamel, and the color changes are elegant and exquisite. 8、清代 銅鎏金大威德金剛像  本尊金剛主尊與蓮座分體鑄造，背部嵌有裝藏物，保留原封藏，底座同樣為原封底，十分難得。本尊造像鎏金飽滿，金質鋥亮，比例勻稱，造型優美，形象生動傳神；面容身軀十分飽滿，細膩的肌膚似乎吹彈可破；瓔珞細節刻劃精緻，華麗純厚的鎏金，堪稱同類題材中不可多得的上乘之作。 The main king kong statue and lotus pedestal are cast in separate parts, and the back is embedded with xizangan objects. The original seal is retained. The base is also the original seal, which is very rare. This is the gilding gold full, the quality of gold shiny, the proportion is symmetrical, the modelling is beautiful, the image vivid transmission spirit; The body of the face is very full, delicate skin seems to blow a bullet can break; Gem details carved delicate, luxuriant pure thick gilt, can be said to be the same kind of theme in the rare fine work. |
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