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張大千 Zhang Daqian 张大千大師
以一花一世界白荷花圖名畫及書法立軸
與佛光山開山宗長星雲大師結善緣的友誼故事
一花一世界白荷花圖名畫及書法立軸
One Flower in One World White Lotus and attached calligraphy, by Zhang Daqian dated Mar.1978.
畫 Painting: H 89 x W 173 cm, 書法 Calligraphy: H 96 x W 47.5 cm.
張大千1978年3月作 "一花一世界白荷花圖及書法立軸" 橫幅設色紙本鏡片
The recipient was the buddhist master Xing Yun, Hsing Yun,
founder of the buddhist mountain Fo Guang Shan
上款人為佛光山開山宗長星雲大師
"One Flower in One World White Lotus and attached calligraphy" by Zhang Daqian dated Mar. 1978.
張大千1978年3月作 "一花一世界白荷花圖及書法立軸"."One Flower in One World White Lotus and attached calligraphy"
by Zhang Daqian dated Mar. 1978. 張大千1978年3月作 "一花一世界白荷花圖及書法立軸"
Size: Painting H 89 x W 173 cm, Calligraphy H 96 x W 47.5 cm.
Painting: Ink on paper, signed SHUJUNJINSHINAN ZHANG DAQIAN YUAN, inscribed and titled ONE FLOWER IN ONE WORLD AND THREE COMPREHENSIONS OUT OF THREE INSIGNIFICANCIES, MAR. 1978, dedicated BUDDHIST MASTER XING YUN AS WITNESS (星雲大德印正), with 5 seals of the artist.
Calligraphy: ink on paper, hanging scroll, signed SHUJUNJINSHINAN ZHANG DAQIAN YUAN, inscribed and titled AMAZING TALENT AND EXTREME BEAUTY, dedicated BUDDHIST MASTER XING YUN AS WITNESS (星雲大德印正), with 2 seals of the artist.
張大千1978年3月作一花一世界白荷花圖及書法立軸
One Flower in One World White Lotus and attached calligraphy
by Zhang Daqian dated Mar.1978.
張大千1978年3月作 "一花一世界白荷花圖及書法立軸" 橫幅設色紙本鏡片
Ink on paper, mounted, signed SHU JUN JIN SHI NAN ZHANG DAQIAN YUAN, inscribed and titled ONE FLOWER IN ONE WORLD AND THREE COMPREHENSIONS OUT OF THREE INSIGNIFICANCIES, MAR.1978, dedicated BUDDHIST MASTER XING YUN AS WITNESS, with 5 seals of the artist.
Calligraphy: ink on paper, mounted, hanging scroll, signed SHU JUN JIN SHI NAN ZHANG DAQIAN YUAN, inscribed and titled AMAZING TALENT AND EXTREME BEAUTY, dedicated BUDDHIST MASTER XING YUN AS WITNESS, with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
The handwritings and signatures of Zhang Daqian in this combination are the same as those 29 words in her sister painting (H 94 x W 212.5 cm, Feb.2, 1978, sold twice US 3.86 million dollars in total by Buddist Master Xing Yun in Feb.27, 1994 at the Auction for Fund of Buddhist University.) by Zhang Daqian.
Painting: H 89 x W 173 cm,
Calligraphy: H 96 x W 47.5 cm.
This dedication of painting by Zhang Daqian to Buddhist Master Xing Yun in Mar.1978 was also recorded in Buddhist Master Xing Yun's personal Diary, the Buddhist Textbook Lesson 20, Volume 11 "The Memorabilia of Buddhist Mt. Fo Guang" of Buddhist University, and the "The Memorabilia of Founder Master Xing Yun of Buddhist Mt. Fo Guang".
張大千 1978 年 3 月作 "一花一世界白荷花圖及書法立軸"
題識: 一花一世界, 三藐三菩提. 六十七年三月, 星雲大德印正. 蜀郡近事男張大千爰.
五鈐印: 西川張爰, 金石同壽, 摩耶精舍, 大風堂, 得心應手.
書法題識: 驚才絕豔, 星雲大德印正. 蜀郡近事男張大千爰.
二鈐印: 西川張爰, 金石同壽.
佛光山開山宗長星雲大師於其所著的 "星雲日記 命運的主人" 一書中, 記載 1994 年 2 月 27 日星期日下午, 為舉行籌募佛光大學創校經費的 "當代名家藝術精品" 義賣會上, 會場中最高潮乃是在拍賣張大千先生的 "一花一世界" 水墨畫 (H 94 x W 212.5 cm 橫幅水墨設色紙本張大千 1978 年戊午年 2 月初 2 日作), 這幅畫是民國 67 年 (1978 年) 3 月張大千先生親自送到佛光山來給我們. 拍賣時以 500 萬元起價, 經過一番競標, 最後由一位蕭姓信徒以 6,000 萬元得標, 但又捐出來給佛光大學; 再由遠東集團創辦人徐有庠先生以 5,600 萬元得標, 使得這一幅畫以 11,600 萬元的高價結了善緣.
因此, 佛光大學佛光教科書第 11 冊 "佛光學" 之第 20 課 "佛光山大事記", 便記載著 "佛光山創建緣起摘要" 如下: 1978 年佛光 12 年 3 月, 張大千先生暨夫人來山禮佛, 並贈親繪巨畫 "一花一世界".
故 "佛光山開山宗長星雲大師大事記" 也相對記載著: 1978年, 星雲大師 52 歲, 國寶級畫家張大千暨夫人來山禮佛, 並贈親繪巨畫 "一花一世界".
此幅名畫 (H 89 x W 173 cm), 與上述拍賣之張大千 1978 年戊午年 2 月初 2 日作 "一花一世界" 水墨畫 (H 94 x W 212.5 cm), 為張大千於同時間內的姐妹作. 兩幅名畫題識中之 "一花一世界, 三藐三菩提. 六十七年, 星雲大德印正, 蜀郡近事男張大千爰." 等 29 個文字, 完全相同, 確為張大千本人之親筆書寫筆跡無誤.
This dedication of painting by Master Zhang Daqian (張大千大師) to Buddhist Master Xing Yun (星雲大師) in Mar. 1978 was recorded in Buddhist Master Xing Yun's personal Diary Book, also in the Buddhist Textbook Lesson 20, Volume 11 "The Memorabile of Buddhist Mt. Fo Guang (佛光山)" of Buddhist University (佛光大學), as well as in "The Memorabile of Founder Master Xing Yun of Buddhist Mt. Fo Guang".
The sale revenue of this bid will be distrbuted by seller as 25% donated to Buddhist University (佛光大學), 25% to Buddhist Art Museum (佛光緣美術館), both founded by Buddist Master Xing Yun (星雲大師), and 50% to fund of a private Museum to be set up by seller.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signatures of Zhang Daqian in this combination of works of art are the same as those 29 words in her sister painting (H 94 x W 212.5 cm, Feb. 2, 1978, sold twice USD 3.86 millions in total by Buddist Master Xing Yun in Feb. 27, 1994 at the Auction for Fund of Buddhist University.) by Zhang Daqian.
張大千1978年3月作"一花一世界白荷花圖及書法立軸"
尺寸: 畫心 高 89 x 寬 173 cm, 書法立軸 高 96 x 寬 47.5 cm.
畫心題識:一花一世界,三藐三菩提.六十七年三月,星雲大德印正. 蜀郡近事男張大千爰.
五鈐印:西川張爰,金石同壽,摩耶精舍,大風堂,得心應手.
書法題識:驚才絕豔,星雲大德印正. 蜀郡近事男張大千爰.
二鈐印:西川張爰,金石同壽.
佛光山開山宗長星雲大師於其所著的 "星雲日記 命運的主人" 一書中, 記載1994年2月27日星期日下午, 為舉行籌募佛光大學創校經費的 "當代名家藝術精品" 義賣會上, 會場中最高潮乃是在拍賣張大千先生的 "一花一世界" 水墨畫(H 94 x W 212.5 cm 橫幅水墨設色紙本 張大千1978年戊午年2月初2日作), 這幅畫是民國67年 (1978年) 3月張大千先生親自送到佛光山來給我們. 拍賣時以500萬元起價, 經過一番競標, 最後由一位蕭姓信徒以6,000萬元得標, 但又捐出來給佛光大學; 再由遠東集團創辦人徐有庠先生以5,600萬元得標, 使得這一幅畫以11,600萬元的高價結了善緣.
因此, 佛光大學佛光教科書第11冊 "佛光學" 之第20課 "佛光山大事記", 便記載著 "佛光山創建緣起摘要" 如下: 1978年佛光12年3月, 張大千先生暨夫人來山禮佛, 並贈親繪巨畫 "一花一世界".
故 "佛光山開山宗長星雲大師大事記" 也相對記載著: 1978年, 星雲大師52歲, 國寶級畫家張大千暨夫人來山禮佛, 並贈親繪巨畫 "一花一世界".
基於前緣, 此幅張大千1978年3月作 "一花一世界白荷花圖及書法立軸" 之出售收入, 除了50％是作為在臺灣成立中國書畫及古文物民間博物館的經費外, 其餘25％將捐給星雲大師創辦之佛光大學, 另外25％亦將捐給星雲大師創辦之佛光山佛光緣美術館.
此幅名畫 (H 89 x W 173 cm), 與上述拍賣之張大千1978年戊午年2月初2日作 "一花一世界" 水墨畫 (H 94 x W 212.5 cm), 為張大千於同時間內的姐妹作. 兩幅名畫題識中之 "一花一世界, 三藐三菩提. 六十七年, 星雲大德印正, 蜀郡近事男張大千爰." 等29個文字, 完全相同, 確為張大千本人之親筆書寫筆跡無誤.
If you are interested in the best gateway to know the increasingly valuable Chinese fine paintings and works of art, please visit:
假如您對日益增值之中國書畫或藝術精品有所興趣，不妨參觀下列網址以尋找最佳捷徑︰
Taiwan Web Museum
A Free Exhibition Museum in the Internet World
台灣網路藝術美術博物館
網路世界裡的免費博物館
台湾网络艺术美术博物馆
网络世界里的免费博物馆
Free Website to See Paintings by Chinese Artists
Listed in 2011 World Auction Revenue Top 30 and Rare Archaic Chinese Ancient
Antiques
觀賞2011年列名世界拍賣總收入前30名中國畫家名畫作品及中國古代罕見的古董之免費網址
Welcome to identify your Chinese Paintings and Works
of Art! Our help is free of charge!
歡迎辨識您的中國書畫及藝術品! 我們的協助是免費的!
Mr. Orion Hsu & Brothers (徐氏兄弟珍藏文物)
Private Museum preparatory office
中國書畫文物博物館籌備企劃辦公室
台灣橫貫公路風景美圖
The beautiful landscape scenery photos of Taiwan
Cross-Island Road
125 張精美照片 125 fine
photos
2014 年世界拍賣總收入前 500 名畫家中之前 155 名中國畫家
Top 155 Chinese artists among the Top 500 artists by world auction revenue in 2014
共 155 名中國畫家占前 500 名畫家之 31 %
Total 155 Chinese artists / 500 artists = 31 %
假如你是西方油畫的收藏家，扣除 31 % 的中國畫家，再扣除 20 % 左右的中國瓷器、青銅器、珠寶玉器、漆器雜項類中國作家，2014年你只是在世界作者市場 49 % 以內經營藝術品而已；可能再過10年，你將成為只是在世界作者市場 30 % 以內經營。
If you are a collector of western oil paintings, deducting 31 % for Chinese artists of paintings and further deducting 20% for Chinese artists of ceramics、bronze、jades and jewelry、lacquer and miscellaneous works of art, in 2014 you are only operating works of art within 49% of the world artists market. Maybe after 10 years, you might become operating works of art within 30% of the world artists market.
列名 作者姓名 拍賣總收入(美金) 拍賣件數 最高落槌價(美金)
Rank Artist Auction Turnover ($) Sold Lots Top Hammer Price ($)
Page 84 (14 Chinese artists) 第84頁14位中國畫家
列名 作者姓名 拍賣總收入(美金) 拍賣件數 最高落槌價(美金)
Rank Artist Auction Turnover($) Sold Lots Top Hammer Price($)
7 QI Baishi (1864-1957) 齊白石 206,245,348 719 7,861,850
9 ZHANG Daqian (1899-1983) 張大千 193,242,992 817 7,476,199
13 ZAO Wou-ki (1921-2013) 趙無極 115,686,349 575 7,161,650
16 FU Baoshi (1904-1965) 傅抱石 103,465,331 142 4,944,050
17 XU Beihong (1895-1953) 徐悲鴻 102,449,141 219 6,532,000
19 HUANG Zhou (1925-1997) 黃冑 96,461,998 625 5,506,020
20 HUANG Binhong (1865-1955) 黃賓虹 88,082,380 303 8,839,900
26 WU Changshuo (1844-1927) 吳昌碩 80,942,833 560 5,463,850
31 LU Yanshao (1909-1993) 陸儼少 66,350,196 443 1,925,760
32 LI Keran (1907-1989) 李可染 65,946,710 207 7,294,500
37 CHU Teh-Chun (1920-2014) 朱德群 60,897,598 241 3,800,000
38 WU Guanzhong (1919-2010) 吳冠中 60,623,435 153 2,967,000
42 LIN Fengmian (1900-1991) 林風眠 54,514,729 253 2,449,500
50 ZENG Fanzhi (1964)曾梵志 43,080,328 50 3,606,400
Page 85 (17 Chinese artists) 第85頁17位中國畫家
53 PU Ru (1896-1963) 溥儒(溥心畬) 41,246,692 1,042 838,500
55 XIE Zhiliu (1910-1997) 謝稚柳 39,960,699 355 2,367,850
58 WU Hufan (1894-1968) 吳湖帆 37,900,898 320 3,412,500
59 WANG Duo (1592-1652) 王鐸 37,871,423 70 3,013,650
62 PAN Tianshou (1897-1971) 潘天壽 34,790,957 88 3,600,840
67 ZHU Da (1626-1705) 朱耷(八大山人) 32,277,125 38 6,190,200
71 SAN Yu (1901-1966) 常玉 30,027,262 41 9,151,899
75 ZHU Xinjian (1953-2014) 朱新建 28,619,279 1,202 898,150
78 QIANLONG Emperor (1711-1799) 乾隆皇帝 27,079,477 48 16,483,200
81 CHENG Shifa (1921-2007) 程十髮 25,987,069 486 1,959,600
83 QI Gong (1912-2005) 啟功 25,693,155 437 815,500
85 QIAN Songyan (1899-1985) 錢松喦 25,582,974 254 1,053,650
89 FAN Zeng (1938) 范曾 23,416,615 237 2,941,200
93 YU Youren (1879-1964) 于右任 23,032,037 718 521,279
95 ZHOU Chunya (1955) 周春芽 21,226,785 65 1,134,700
96 WANG Hui (1632-1717) 王翬 21,050,636 58 4,569,600
98 ZHANG Xiaogang (1958) 張曉剛 20,783,341 44 10,698,699
Page 86 (18 Chinese artists) 第86頁18位中國畫家
103 LIU Wei (1965) 刘炜 19,134,174 43 2,935,800
105 WANG Xuetao (1903-1982) 王雪濤 18,896,219 348 827,220
109 HUANG Yongyu (1924) 黄永玉 18,286,630 241 902,430
110 DONG Shouping (1904-1997) 董寿平 18,251,261 309 842,920
112 HE Haixia (1908-1998) 何海霞 17,310,468 144 3,266,000
114 CHEN Yifei (1946-2005) 陳逸飛 16,910,797 29 2,964,699
119 GUAN Liang (1900-1986) 關良 16,014,062 239 2,197,800
120 REN Yi (1840-1896) 任頤(任伯年) 15,959,015 167 1,199,520
128 DONG Qichang (1555-1636) 董其昌 14,722,727 123 2,769,300
130 WEN Zhengming (1470-1559) 文徵明 14,576,419 79 1,633,000
131 YU Fei'an (1888-1959) 于非闇 14,505,161 109 972,600
135 ZHENG Banqiao (1693-1765) 鄭板橋 14,208,977 76 2,200,000
136 LIU Dawei (1945) 刘大为 14,023,225 121 1,621,000
138 LI Kuchan (1899-1983) 李苦禪 13,918,988 276 786,240
139 LIN Sanzhi (1898-1989) 林散之 13,856,855 350 907,760
141 LUO Zhongli (1948) 羅中立 13,483,611 53 6,159,800
148 HONG Yi (1880-1942) 弘一(李叔同) 12,755,950 85 1,306,400
149 LIU Xiaodong (1963) 劉小東 12,589,594 15 7,470,400
Page 87 (19 Chinese artists) 第87頁19位中國畫家
152 LAI Shaoqi (1915-2000) 赖少其 12,209,093 144 5,538,600
153 CHEN Peiqiu (1922/23) 陈佩秋 12,101,206 194 1,040,000
157 YI Bingshou (1754-1815) 伊秉绶 11,964,497 55 3,242,000
161 LIU Haisu (1896-1994) 劉海粟 11,536,281 138 1,877,950
166 YANG Yan (1958) 楊彥 11,191,811 57 10,784,400
167 TANG Yun (1910-1993) 唐雲 11,031,461 493 293,940
172 FANG Lijun (1963) 方力均 10,814,787 30 6,697,600
178 TANG Yin (1470-1523) 唐寅(唐伯虎) 10,514,886 33 4,956,250
180 GUAN Shanyue (1912-2000) 關山月 10,378,961 119 2,850,750
182 LIU Guosong (1932) 劉國松 10,204,764 83 1,804,599
184 CHEN Shaomei (1909-1954) 陳少梅 10,172,762 89 3,000,700
185 SHI Guoliang (1956) 史國良(釋慧禪) 10,111,795 116 1,588,580
186 HUANG Junbi (1898-1991) 黃君璧 10,051,378 313 319,410
188 FU Shan (1607-1684) 傅山 9,945,247 23 3,890,400
189 HE Jiaying (1957) 何家英 9,919,579 54 859,130
190 ZHOU Sicong (1939-1996) 周思聪 9,888,000 174 1,377,850
191 ZHU Ming (1938) 朱銘 9,699,670 94 1,224,549
196 JIN Nong (1687-1763) 金農 9,367,369 48 1,732,040
200 LIU Danzhai (1931-2011) 刘旦宅 9,177,422 134 1,339,060
Page 88 (15 Chinese artists) 第88頁15位中國畫家
201 LI Xiongcai (1910-2001) 黎雄才 9,162,598 191 788,160
208 YA Ming (1924-2002) 亚明 8,916,735 251 1,172,160
215 BAI Xueshi (1915-2011) 白雪石 8,571,042 164 456,119
217 LEE Man Fong (1913-1988) 李曼峰 8,494,019 61 3,735,200
218 HONG Ren (1610-1663) 弘仁 8,467,043 5 7,542,300
221 FENG Zikai (1898-1975) 豐子愷 8,411,283 175 437,670
223 SONG Wenzhi (1919-1999) 宋文治 8,326,290 244 469,151
224 XU Lei (1963) 徐累 8,312,432 26 2,606,400
225 WANG Yidong (1955) 王沂東 8,284,639 30 1,458,900
227 WANG Mingming (1952) 王明明 8,207,562 130 453,600
234 JIA Youfu (1942) 賈又福 7,873,366 79 1,864,150
236 WU Zuoren (1908-1997) 吳作人 7,832,988 148 636,090
237 FAN Yang (1955) 范揚 7,806,488 233 243,750
242 WANG Yuanqi (1642-1715) 王原祁 7,678,320 39 1,465,200
250 AI Xuan (1947) 艾轩 7,467,339 43 749,800
Page 89 (12 Chinese artists) 第89頁12位中國畫家
258 PAN Yuliang (1895-1977) 潘玉良 7,179,153 11 3,870,351
262 ZHAO Zhiqian (1829-1884) 趙之謙 7,060,825 66 1,160,099
265 TIAN Liming (1955) 田黎明 6,999,979 95 315,900
266 EMPEROR KANGXI (1654-1722) 康熙皇帝 6,937,669 14 3,258,000
268 SHI Lu (1919-1982) 石魯 6,852,847 49 1,021,230
271 TIAN Shiguang (1916-1999) 田世光 6,803,606 123 781,920
276 CHOU Ying (1493-1560) 仇英 6,632,784 50 1,823,360
279 DING Yanyong (1902-1978) 丁衍庸 6,584,807 181 592,939
291 GUO Moruo (1892-1978) 郭沫若 6,218,480 61 1,102,280
294 XU Bing (1955) 徐冰 6,130,422 30 1,167,120
297 SHEN Zhou (1427-1509) 沈周 6,066,002 28 1,798,500
299 SHEN Yinmo (1883-1971) 沈尹默 6,003,213 185 1,218,750
Page 90 (14 Chinese artists) 第90頁14位中國畫家
303 YUE Minjun (1962) 岳敏君 5,851,974 22 1,296,800
306 ZHAO Shao'Ang (1905-1998) 趙少昂 5,809,681 247 259,520
309 XUE Liang (1956) 薛亮 5,717,377 95 1,103,640
316 CHEONG Soo Pieng (1917-1983) 钟泗滨 5,566,836 55 631,609
323 ZHANG Ruitu (1570-1641) 張瑞圖 5,495,433 30 761,870
328 CHEN Hongshou (1598-1652) 陳洪绶 5,458,659 20 1,945,200
329 REN Zhong (1976) 任重 5,452,237 56 423,540
331 ZHU Qizhan (1892-1996) 朱屺瞻 5,417,335 209 260,000
332 ZHAO Puchu (1907-2000) 趙樸初 5,382,881 175 486,300
336 WANG Jian (1598-1677) 王鑒 5,309,438 23 3,811,700
339 YANG Shanshen (1913-2004) 楊善深 5,279,455 184 1,427,360
341 KANG Youwei (1858-1927) 康有為 5,199,080 113 324,200
343 GU Wenda (1955) 谷文達 5,179,178 42 1,119,180
345 LIU Ye (1964) 劉野 5,117,193 34 891,550
Page 91 (18 Chinese artists) 第91頁18位中國畫家
351 PU Guang (XIII -XIV) 溥光 4,944,050 1 4,944,050
352 HE Shaoji (1799-1873) 何绍基 4,912,933 136 747,500
355 LIU Jiyou (1918-1983) 劉繼卣 4,891,144 108 399,595
358 CHEN Dayu (1912-2001) 陳大羽 4,855,807 247 454,160
365 SHI Tao (1642-1707) 石濤 4,796,775 27 2,269,400
368 ZHU Meicun (1911-1993) 朱梅邨 4,776,671 117 570,150
369 JIA Aili (1979) 贾蔼力 4,758,253 8 1,262,240
370 XI Dejin (1923-1981) 席德進 4,740,558 89 227,080
373 SHEN Peng (1931) 沈鹏 4,670,229 160 701,330
374 AI Weiwei (1957) 艾未未 4,663,696 32 966,749
375 XU Lele (1955) 徐樂樂 4,628,253 155 210,730
383 YE Qianyu (1907-1995) 葉淺予 4,530,685 118 356,620
389 ZHU Yunming (1460-1526) 祝允明 4,462,454 14 1,629,000
393 LI Jin (1958) 李津 4,372,647 94 212,160
394 ZHAN Wang (1962) 展望 4,360,124 13 2,709,000
395 FANG Chuxiong (1950) 方楚雄 4,355,333 148 262,080
397 LU Yushun (1962) 盧禹舜 4,336,840 61 884,520
399 CHEN Wenxi (1906-1991) 陳文希 4,242,709 71 1,095,650
Page 92 (13 Chinese artists) 第92頁13位中國畫家
402 CHENG Conglin (1954) 程叢林 4,177,932 3 4,052,500
404 TAO Lengyue (1895-1985) 陶冷月 4,141,462 138 457,240
405 HE Duoling (1948) 何多苓 4,131,489 12 1,419,000
409 LONG Rui (1946) 龍瑞 4,047,039 66 956,980
416 LU Yifei (1908-1997) 陸抑非 3,995,369 121 791,293
425 ZHANG Shanzi (1882-1940) 張善孖 3,840,085 90 324,200
428 WANG Guangyi (1957) 王廣義 3,799,843 37 1,167,120
430 WEI Zixi (1915-2002) 魏紫熙 3,791,768 120 235,190
432 YUN Shouping (1633-1690) 惲壽平 3,784,559 78 541,800
437 PAN Gongkai (1947) 潘公凯 3,737,332 16 2,141,040
443 SHA Menghai (1900-1992) 沙孟海 3,702,566 132 293,940
446 HUANG Shen (1687-c.1773) 黃慎 3,685,764 49 425,100
450 LIN Yong (1942) 林墉 3,650,618 117 259,360
Page 93 (15 Chinese artists) 第93頁15位中國畫家
456 LIAO Chi-Chun (1902-1976) 廖繼春 3,625,280 9 1,252,033
461 LI Shan (1686-1760) 李鱓 3,569,789 38 652,800
462 LAN Ying (1585-c.1664) 蓝瑛 3,562,896 42 438,210
464 YANG Zhiguang (1930) 楊之光 3,525,002 119 195,840
468 ZHANG Enli (1965) 张恩利 3,497,596 12 708,949
471 YANG Feiyun (1954) 杨飞云 3,467,338 14 734,400
472 ZHOU Jingxin (1959) 周京新 3,445,045 113 519,040
475 JIANG Hanting (1904-1963) 江寒汀 3,408,711 125 300,625
476 WANG Ziwu (1936) 王子武 3,404,947 51 653,200
478 LE PHO (1907-2001) 黎譜 3,396,747 96 696,059
479 LIU Yi (1957) 刘溢 3,370,316 20 615,980
481 NI Yuanlu (1593-1644) 倪元璐 3,350,382 10 1,100,000
492 CHIU Ya Tsai (1949-2013) 邱亞才 3,288,319 53 180,459
498 WEN Jia (1501-1583) 文嘉 3,261,051 17 1,986,160
500 WU Dayu (1903-1988) 吴大羽 3,248,689 9 772,800
資料來源: 法國 Artprice.com S.A. 2014 年全世界藝術市場報告書第 84-93 頁 2014 年全世界拍賣總收入結果前 500 名畫家.
Source: The Art Market in 2014 Page 84-93 Top 500 artists by auction revenue in 2014 by Artprice.com S.A.
2014年世界拍賣總收入前500名畫家
Top 500 artists by world auction revenue in 2014
列名 作者姓名 拍賣總收入(美金) 拍賣件數 最高落槌價(美金)
Rank Artist Auction Turnover($) Sold Lots Top Hammer Price($)
Page 84
1 WARHOL Andy (1928-1987) 569,507,083 1,394 73,000,000
2 PICASSO Pablo (1881-1973) 375,054,326 2,898 28,000,000
3 BACON Francis (1909-1992) 270,748,102 122 72,000,000
4 RICHTER Gerhard (1932) 254,353,142 258 28,711,740
5 ROTHKO Mark (1903-1970) 249,188,072 16 59,000,000
6 MONET Claude (1840-1926) 222,694,607 40 48,073,025
7 QI Baishi (1864-1957) 206,245,348 719 7,861,850
8 GIACOMETTI Alberto (1901-1966) 205,473,704 147 90,000,000
9 ZHANG Daqian (1899-1983) 193,242,992 817 7,476,199
10 KOONS Jeff (1955) 149,686,183 104 30,000,000
11 BASQUIAT Jean-Michel (1960-1988) 148,998,739 71 31,000,000
12 TWOMBLY Cy (1928-2011) 126,221,339 61 62,000,000
13 ZAO Wou-ki (1921-2013) 115,686,349 575 7,161,650
14 LICHTENSTEIN Roy (1923-1997) 109,143,660 540 19,000,000
15 KOONING de Willem (1904-1997) 105,999,158 77 26,000,000
16 FU Baoshi (1904-1965) 103,465,331 142 4,944,050
17 XU Beihong (1895-1953) 102,449,141 219 6,532,000
18 MODIGLIANI Amedeo (1884-1920) 98,954,376 26 63,000,000
19 HUANG Zhou (1925-1997) 96,461,998 625 5,506,020
20 HUANG Binhong (1865-1955) 88,082,380 303 8,839,900
21 GOGH van Vincent (1853-1890) 87,864,632 12 55,000,000
22 WOOL Christopher (1955) 87,630,825 52 21,000,000
23 CHAGALL Marc (1887-1985) 87,296,130 1,125 10,110,960
24 MIRO Joan (1893-1983) 83,177,312 1,306 11,000,000
25 FONTANA Lucio (1899-1968) 82,185,863 247 9,038,090
26 WU Changshuo (1844-1927) 80,942,833 560 5,463,850
27 CALDER Alexander (1898-1976) 78,764,837 354 23,000,000
28 MATISSE Henri (1869-1954) 75,439,034 404 17,000,000
29 NEWMAN Barnett (1905-1970) 75,039,000 3 75,000,000
30 MANET Edouard (1832-1883) 68,522,429 39 58,000,000
31 LU Yanshao (1909-1993) 66,350,196 443 1,925,760
32 LI Keran (1907-1989) 65,946,710 207 7,294,500
33 DOIG Peter (1959) 65,945,331 62 16,000,000
34 CUI Ruzhuo (1944) 65,150,015 49 20,623,999
35 LEGER Fernand (1881-1955) 65,038,926 216 17,526,600
36 RENOIR Pierre-Auguste (1841-1919) 64,799,084 270 10,000,000
37 CHU Teh-Chun (1920-2014) 60,897,598 241 3,800,000
38 WU Guanzhong (1919-2010) 60,623,435 153 2,967,000
39 KIPPENBERGER Martin (1953-1997) 59,801,054 64 20,000,000
40 O'KEEFFE Georgia (1887-1986) 57,372,500 11 39,500,000
41 GRIS Juan (1887-1927) 55,609,017 16 50,778,000
42 LIN Fengmian (1900-1991) 54,514,729 253 2,449,500
43 PRINCE Richard (1949) 53,904,826 76 7,500,000
44 MAGRITTE Rene (1898-1967) 53,449,860 110 11,415,600
45 POLKE Sigmar (1941-2010) 52,118,395 142 7,500,000
46 ROCKWELL Norman Perceval (1894-1978) 49,866,548 78 20,000,000
47 TURNER Joseph Mallord William (1775-1851) 47,501,117 25 42,379,200
48 PISSARRO Camille (1830-1903) 47,181,620 126 28,539,000
49 RYMAN Robert (1930) 45,055,015 22 13,250,000
50 ZENG Fanzhi (1964) 43,080,328 50 3,606,400
Page 85
51 MONDRIAAN Piet (1872-1944) 42,161,208 12 22,972,950
52 KANDINSKY Wassily (1866-1944) 41,815,792 88 15,200,000
53 PU Ru (1896-1963) 41,246,692 1,042 838,500
54 RUSCHA Ed (1937) 40,297,696 161 27,000,000
55 XIE Zhiliu (1910-1997) 39,960,699 355 2,367,850
56 DIEBENKORN Richard (1922-1993) 39,797,050 54 9,000,000
57 KLEIN Yves (1928-1962) 39,322,018 58 15,000,000
58 WU Hufan (1894-1968) 37,900,898 320 3,412,500
59 WANG Duo (1592-1652) 37,871,423 70 3,013,650
60 DUBUFFET Jean (1901-1985) 36,738,561 136 6,500,000
61 JOHNS Jasper (1930) 36,206,875 127 32,000,000
62 PAN Tianshou (1897-1971) 34,790,957 88 3,600,840
63 KUSAMA Yayoi (1929) 34,578,242 501 6,200,000
64 BRUEGHEL Pieter II (c.1564-1637/38) 33,927,798 17 8,312,415
65 LOWRY Laurence Stephen (1887-1976) 33,818,511 211 7,420,500
66 HARING Keith (1958-1990) 32,957,932 334 4,200,000
67 ZHU Da (1626-1705) 32,277,125 38 6,190,200
68 SHIRAGA Kazuo (1924-2008) 31,741,241 59 4,629,100
69 CORNELL Joseph (1903-1972) 30,709,300 61 6,800,000
70 CEZANNE Paul (1839-1906) 30,651,134 51 5,277,130
71 SAN Yu (1901-1966) 30,027,262 41 9,151,899
72 GUYTON Wade (1972) 29,872,250 25 5,200,000
73 MANZONI Piero (1933-1963) 29,409,569 20 17,934,560
74 FREUD Lucian (1922-2011) 28,880,298 44 15,000,000
75 ZHU Xinjian (1953-2014) 28,619,279 1,202 898,150
76 BRAQUE Georges (1882-1963) 28,026,347 288 8,000,000
77 MOORE Henry (1898-1986) 27,966,291 359 7,207,200
78 QIANLONG Emperor (1711-1799) 27,079,477 48 16,483,200
79 RODIN Auguste (1840-1917) 26,464,285 109 5,870,880
80 BOETTI Alighiero (1940-1994) 26,293,943 102 3,344,040
81 CHENG Shifa (1921-2007) 25,987,069 486 1,959,600
82 STAEL de Nicolas (1914-1955) 25,840,977 27 5,037,550
83 QI Gong (1912-2005) 25,693,155 437 815,500
84 KLINE Franz (1910-1962) 25,601,059 13 23,500,000
85 QIAN Songyan (1899-1985) 25,582,974 254 1,053,650
86 SCHWITTERS Kurt (1887-1948) 25,317,879 25 21,108,520
87 VRIES de Adrien (c.1550-1626) 24,750,000 1 24,750,000
88 CASTELLANI Enrico (1930) 24,636,292 70 5,284,290
89 FAN Zeng (1938) 23,416,615 237 2,941,200
90 DALI Salvador (1904-1989) 23,267,013 1,393 8,000,000
91 JUDD Donald (1928-1994) 23,167,881 57 6,500,000
92 MITCHELL Joan (1926-1992) 23,076,316 31 10,500,000
93 YU Youren (1879-1964) 23,032,037 718 521,279
94 BURRI Alberto (1915-1995) 22,881,307 60 6,726,870
95 ZHOU Chunya (1955) 21,226,785 65 1,134,700
96 WANG Hui (1632-1717) 21,050,636 58 4,569,600
97 DEGAS Edgar (1834-1917) 20,879,178 91 4,500,000
98 ZHANG Xiaogang (1958) 20,783,341 44 10,698,699
99 POLLOCK Jackson (1912-1956) 20,757,940 7 10,000,000
100 STELLA Frank (1936) 20,553,820 195 5,800,000
Page 86
101 BASELITZ Georg (1938) 20,223,258 97 6,500,000
102 SOULAGES Pierre (1919) 20,209,329 148 5,280,320
103 LIU Wei (1965) 19,134,174 43 2,935,800
104 LEE Ufan (1936) 18,997,111 112 1,800,000
105 WANG Xuetao (1903-1982) 18,896,219 348 827,220
106 HIRST Damien (1965) 18,867,447 243 1,534,320
107 SHERMAN Cindy (1954) 18,797,388 87 5,900,000
108 BUFFET Bernard (1928-1999) 18,416,157 598 664,610
109 HUANG Yongyu (1924) 18,286,630 241 902,430
110 DONG Shouping (1904-1997) 18,251,261 309 842,920
111 SEURAT Georges Pierre (1859-1891) 17,577,466 15 4,600,000
112 HE Haixia (1908-1998) 17,310,468 144 3,266,000
113 BOTERO Fernando (1932) 17,081,121 75 2,150,000
114 CHEN Yifei (1946-2005) 16,910,797 29 2,964,699
115 KLEE Paul (1879-1940) 16,684,585 100 1,531,530
116 SISLEY Alfred (1839-1899) 16,579,413 18 4,200,000
117 BOURGEOIS Louise (1911-2010) 16,556,213 61 6,200,000
118 PISTOLETTO Michelangelo (1933) 16,404,032 145 3,410,600
119 GUAN Liang (1900-1986) 16,014,062 239 2,197,800
120 REN Yi (1840-1896) 15,959,015 167 1,199,520
121 GUARDI Francesco (1712-1793) 15,643,001 6 14,996,625
122 SCHIELE Egon (1890-1918) 15,576,255 54 2,808,795
123 STILL Clyfford E. (1904-1980) 15,500,000 1 15,500,000
124 HEPWORTH Barbara (1903-1975) 15,368,745 37 6,206,825
125 BRUEGHEL Jan I (1568-1625) 15,013,005 12 10,276,800
126 STINGEL Rudolf (1956) 14,946,970 26 1,800,000
127 FRANCIS Sam (1923-1994) 14,904,001 296 4,200,000
128 DONG Qichang (1555-1636) 14,722,727 123 2,769,300
129 GROTJAHN Mark (1968) 14,712,838 21 5,250,000
130 WEN Zhengming (1470-1559) 14,576,419 79 1,633,000
131 YU Fei'an (1888-1959) 14,505,161 109 972,600
132 CHURCHILL Winston Spencer (1874-1965) 14,419,124 18 2,353,500
133 MORAN Thomas (1837-1926) 14,399,150 18 11,000,000
134 GAUGUIN Paul (1848-1903) 14,339,202 56 4,700,000
135 ZHENG Banqiao (1693-1765) 14,208,977 76 2,200,000
136 LIU Dawei (1945) 14,023,225 121 1,621,000
137 RAUSCHEN BERG Robert (1925-2008) 13,968,450 238 5,000,000
138 LI Kuchan (1899-1983) 13,918,988 276 786,240
139 LIN Sanzhi (1898-1989) 13,856,855 350 907,760
140 GNOLI Domenico (1933-1970) 13,535,178 17 10,230,620
141 LUO Zhongli (1948) 13,483,611 53 6,159,800
142 THIEBAUD Morton Wayne (1920) 13,357,316 72 4,200,000
143 GIACOMETTI Diego (1902-1985) 13,003,447 57 1,450,000
144 RUBENS Peter Paul (1577-1640) 12,906,007 10 4,796,120
145 SEROV Valentin A. (1865-1911) 12,842,840 1 12,842,840
146 FEININ GER Lyonel (1871-1956) 12,785,214 131 6,879,600
147 DONGEN van Kees (1877-1968) 12,761,225 148 2,400,000
148 HONG Yi (1880-1942) 12,755,950 85 1,306,400
149 LIU Xiaodong (1963) 12,589,594 15 7,470,400
150 NARA Yoshitomo (1959) 12,549,825 160 1,675,699
Page 87
151 STUBBS George (1724-1806) 12,333,467 3 11,647,040
152 LAI Shaoqi (1915-2000) 12,209,093 144 5,538,600
153 CHEN Peiqiu (1922/23) 12,101,206 194 1,040,000
154 TAMAYO Rufino (1899-1991) 12,070,887 197 3,600,000
155 SCHUTTE Thomas (1954) 12,049,491 34 4,600,000
156 AVERY Milton Clark (1885-1965) 11,997,255 60 4,900,000
157 YI Bingshou (1754-1815) 11,964,497 55 3,242,000
158 KIRCHNER Ernst Ludwig (1880-1938) 11,799,488 122 3,404,600
159 TANSEY Mark (1949) 11,566,400 9 5,000,000
160 HODLER Ferdinand (1853-1918) 11,547,315 43 4,590,360
161 LIU Haisu (1896-1994) 11,536,281 138 1,877,950
162 UECKER Gunther (1930) 11,506,894 256 1,433,145
163 BOROVIKOVSKI J Vladimir Lukic (1757-1825) 11,398,838 5 4,358,380
164 WARHOL & BASQUIAT Andy & Jean-Michel (XX) 11,380,000 3 10,000,000
165 BECKMANN Max (1884-1950) 11,228,774 111 7,147,140
166 YANG Yan (1958) 11,191,811 57 10,784,400
167 TANG Yun (1910-1993) 11,031,461 493 293,940
168 BONNARD Pierre (1867-1947) 11,015,681 130 1,700,000
169 SOUTINE Chaim (1894-1943) 10,970,363 5 7,371,000
170 MARDEN Brice (1938) 10,949,818 42 5,000,000
171 MARINI Marino (1901-1980) 10,946,178 171 1,830,000
172 FANG Lijun (1963) 10,814,787 30 6,697,600
173 KAPOOR Anish (1954) 10,806,042 40 1,500,000
174 INDIANA Robert (1928) 10,738,742 244 1,400,000
175 SIGNAC Paul (1863-1935) 10,659,407 80 5,150,160
176 MARC Franz (1880-1916) 10,588,147 21 9,362,650
177 JAWLENSKY von Alexej (1864-1941) 10,519,759 28 4,240,080
178 TANG Yin (1470-1523) 10,514,886 33 4,956,250
179 DUFY Raoul (1877-1953) 10,420,431 226 1,350,000
180 GUAN Shanyue (1912-2000) 10,378,961 119 2,850,750
181 GOYA Y LUCIENTES de Francisco Jose (1746-1828) 10,273,943 223 2,609,280
182 LIU Guosong (1932) 10,204,764 83 1,804,599
183 OCKNEY David (1937) 10,186,082 319 2,500,000
184 CHEN Shaomei (1909-1954) 10,172,762 89 3,000,700
185 SHI Guoliang (1956) 10,111,795 116 1,588,580
186 HUANG Junbi (1898-1991) 10,051,378 313 319,410
187 GUSTON Philip (1913-1980) 9,967,505 19 4,800,000
188 FU Shan (1607-1684) 9,945,247 23 3,890,400
189 HE Jiaying (1957) 9,919,579 54 859,130
190 ZHOU Sicong (1939-1996) 9,888,000 174 1,377,850
191 ZHU Ming (1938) 9,699,670 94 1,224,549
192 BONALUMI Agostino (1935-2013) 9,578,406 97 832,676
193 ERNST Max (1891-1976) 9,521,400 219 1,191,610
194 LEMPICKA de Tamara (1898-1980) 9,473,443 29 3,488,485
195 VERMEER VAN DELFT Jan (1632-1675) 9,426,450 1 9,426,450
196 JIN Nong (1687-1763) 9,367,369 48 1,732,040
197 MUNCH Edvard (1863-1944) 9,348,818 99 2,000,000
198 CANAL Giovanni Antonio (1697-1768) 9,319,494 14 7,534,080
199 LOUIS Morris (1912-1962) 9,281,800 8 2,492,400
200 LIU Danzhai (1931-2011) 9,177,422 134 1,339,060
Page 88
201 LI Xiongcai (1910-2001) 9,162,598 191 788,160
202 KIM Whan Ki (1913-1974) 9,116,692 37 864,000
203 WHITELEY Brett (1939-1992) 9,102,582 78 1,320,900
204 SEVERINI Gino (1883-1966) 9,037,144 44 4,100,000
205 CHIRICO de Giorgio (1888-1978) 9,006,542 125 1,794,430
206 RAZA Sayed Haider (1922) 8,976,994 63 2,625,000
207 GURSKY Andreas (1955) 8,931,133 36 1,534,320
208 YA Ming (1924-2002) 8,916,735 251 1,172,160
209 BRANCUSI Constantin (1876-1957) 8,886,425 22 7,500,000
210 CELMINS Vija (1939) 8,881,028 29 2,900,000
211 AFFANDI (1907-1990) 8,778,382 49 644,499
212 GOBER Robert (1954) 8,749,350 16 3,600,000
213 CHAMBERLAIN John Angus (1927-2011) 8,712,479 32 1,800,000
214 AUERBACH Frank (1931) 8,573,063 27 3,409,600
215 BAI Xueshi (1915-2011) 8,571,042 164 456,119
216 RIMINIDA Giovanni (act.c.1292-c.1336) 8,564,000 1 8,564,000
217 LEE Man Fong (1913-1988) 8,494,019 61 3,735,200
218 HONG Ren (1610-1663) 8,467,043 5 7,542,300
219 REYNOLDS Joshua (1723-1792) 8,456,960 12 7,198,380
220 KIEFER Anselm (1945) 8,438,286 25 1,592,400
221 FENG Zikai (1898-1975) 8,411,283 175 437,670
222 GORKY Arshile (1904-1948) 8,337,010 7 7,800,000
223 SONG Wenzhi (1919-1999) 8,326,290 244 469,151
224 XU Lei (1963) 8,312,432 26 2,606,400
225 WANG Yidong (1955) 8,284,639 30 1,458,900
226 NOLDE Emil (1867-1956) 8,251,745 115 2,042,040
227 WANG Mingming (1952) 8,207,562 130 453,600
228 NICHOLSON Ben (1894-1982) 8,174,477 58 3,060,900
229 FISCHER Urs (1973) 8,170,339 13 3,000,000
230 LIGON Glenn (1960) 8,120,573 24 3,400,000
231 CURRIN John (1962) 8,013,896 10 4,000,000
232 WESSELMANN Tom (1931-2004) 7,905,100 198 800,000
233 BRADFORD Mark (1961) 7,893,871 15 2,000,000
234 JIA Youfu (1942) 7,873,366 79 1,864,150
235 SOUZA Francis Newton (1924-2002) 7,837,898 222 1,400,000
236 WU Zuoren (1908-1997) 7,832,988 148 636,090
237 FAN Yang (1955) 7,806,488 233 243,750
238 BASSANO Jacopo da Ponte (1510/18-1592) 7,800,000 1 7,800,000
239 UTRILLO Maurice (1883-1955) 7,780,990 142 544,160
240 BALTHUS (1908-2001) 7,740,442 40 4,766,440
241 KELLY Ellsworth (1923) 7,713,922 108 3,850,000
242 WANG Yuanqi (1642-1715) 7,678,320 39 1,465,200
243 ROERICH Nicolaj Konstantinov (1874-1947) 7,676,780 17 2,179,190
244 HONTHORST van Gerrit (1590-1656) 7,657,315 6 6,600,000
245 AVERCAMP Hendrick (1585-1634) 7,604,836 2 7,536,320
246 TING Walasse (1929-2010) 7,589,503 244 440,640
247 RUSSELL Charles Marion (1864-1926) 7,568,150 35 1,700,000
248 SUDJOJONO Sindudarsono (1913/14-1985) 7,522,442 13 6,573,899
249 ROMNEY George (1734-1802) 7,507,521 16 5,994,800
250 AI Xuan (1947) 7,467,339 43 749,800
Page 89
251 BALDESSARI John (1931) 7,457,780 67 2,100,000
252 TROCKEL Rosemarie (1952) 7,454,112 35 4,300,000
253 HEDA Willem Claesz. (1594-1680/82) 7,421,107 2 7,284,075
254 VLAMINCK de Maurice (1876-1958) 7,420,280 169 750,398
255 AUERBACH Tauba (1981) 7,299,705 23 1,900,000
256 SCULLY Sean (1945) 7,291,971 49 1,105,106
257 MOTHERWELL Robert (1915-1991) 7,255,858 156 2,250,000
258 PAN Yuliang (1895-1977) 7,179,153 11 3,870,351
259 POLIAKOFF Serge (1900-1969) 7,174,640 144 560,790
260 ARP Hans (1886-1966) 7,147,467 118 2,638,565
261 HASSAM Childe (1859-1935) 7,068,403 33 3,000,000
262 ZHAO Zhiqian (1829-1884) 7,060,825 66 1,160,099
263 HERGE (1907-1983) 7,051,658 60 3,089,233
264 ALBERS Josef (1888-1976) 7,013,656 137 1,353,082
265 TIAN Liming (1955) 6,999,979 95 315,900
266 EMPEROR KANGXI (1654-1722) 6,937,669 14 3,258,000
267 HOMER Winslow (1836-1910) 6,867,300 12 3,900,000
268 SHI Lu (1919-1982) 6,852,847 49 1,021,230
269 EMIN Tracey (1963) 6,821,031 52 3,751,660
270 SOROLLAYBASTIDA Joaquin (1863-1923) 6,803,763 16 3,131,600
271 TIAN Shiguang (1916-1999) 6,803,606 123 781,920
272 KAWARA On (1932) 6,800,927 16 3,600,000
273 RIOPELLE Jean-Paul (1923-2002) 6,759,469 72 1,013,760
274 PECHSTEIN Hermann Max (1881-1955) 6,682,121 126 3,063,060
275 MEHTA Tyeb (1925-2009) 6,650,686 6 2,421,000
276 CHOU Ying (1493-1560) 6,632,784 50 1,823,360
277 AIVAZOVSKY Ivan Constantinovich (1817-1900) 6,606,006 33 2,346,820
278 RUBY Sterling (1972) 6,603,261 25 1,449,505
279 DING Yanyong (1902-1978) 6,584,807 181 592,939
280 MARTIN Agnes (1912-2004) 6,535,790 8 3,200,000
281 ROSENQUIST James (1933) 6,510,734 103 2,800,000
282 OEHLEN Albert (1954) 6,480,901 28 1,534,770
283 COLEN Dan (1979) 6,476,100 29 2,600,000
284 VELDE van de Willem II (1633-1707) 6,465,238 16 2,978,440
285 VERESCAGIN Vasilij Vasilevic (1842-1904) 6,385,195 6 5,364,160
286 MORAN DI Giorgio (1890-1964) 6,372,175 65 992,806
287 HAMMONS David (1943) 6,357,070 11 3,000,000
288 STUART Gilbert (1755-1828) 6,334,528 6 6,166,080
289 SAGE Kay (1898-1963) 6,304,747 3 6,197,040
290 FOUJITA Tsuguharu (1886-1968) 6,293,422 362 1,630,800
291 GUO Moruo (1892-1978) 6,218,480 61 1,102,280
292 MEHRETU Julie (1970) 6,161,588 22 1,500,000
293 VALLOTTON Felix (1865-1925) 6,154,698 61 1,553,850
294 XU Bing (1955) 6,130,422 30 1,167,120
295 ANKER Albert (1831-1910) 6,118,614 78 1,455,480
296 CONDO George (1957) 6,094,017 52 693,042
297 SHEN Zhou (1427-1509) 6,066,002 28 1,798,500
298 ROSSETTI Dante Gabriel (1828-1882) 6,048,818 15 3,914,500
299 SHEN Yinmo (1883-1971) 6,003,213 185 1,218,750
300 WYETH Newell Convers (1882-1945) 5,962,000 20 1,000,000
Page 90
301 BOUCHER Francois (1703-1770) 5,863,098 31 2,000,000
302 BUGATTI Rembrandt (1884-1916) 5,858,575 18 1,327,326
303 YUE Minjun (1962) 5,851,974 22 1,296,800
304 FLAVIN Dan (1933-1996) 5,849,846 23 2,600,000
305 ANNENKOFF Youri Pavlovitch (1889-1974) 5,822,256 35 5,481,700
306 ZHAO Shao'Ang (1905-1998) 5,809,681 247 259,520
307 DYCK van Anthonius (1599-1641) 5,771,987 8 3,919,000
308 HOPPER Edward (1882-1967) 5,734,360 18 1,450,000
309 XUE Liang (1956) 5,717,377 95 1,103,640
310 GORMLEY Antony (1950) 5,714,923 38 1,688,400
311 VASARELY Victor (1906-1997) 5,702,366 643 320,000
312 RICHIER Germaine (1904-1959) 5,688,593 30 1,906,100
313 RI LEY Bridget (1931) 5,673,363 58 4,125,249
314 PENN Irving (1917-2009) 5,664,804 134 389,338
315 REMINGTON Frederic Sackrider (1861-1909) 5,581,704 47 1,500,000
316 CHEONG Soo Pieng (1917-1983) 5,566,836 55 631,609
317 VUILLARD Edouard (1868-1940) 5,557,901 57 2,900,000
318 LENTULOV Aristarkh Vasilievic (1882-1943) 5,556,863 3 3,017,340
319 CLAUDEL Camille (1864-1943) 5,542,392 10 2,661,330
320 LEWITT Sol (1928-2007) 5,542,159 197 620,000
321 TAPIES Antoni (1923-2012) 5,510,249 361 2,387,420
322 MANRAY (1890-1976) 5,507,540 385 400,000
323 ZHANG Ruitu (1570-1641) 5,495,433 30 761,870
324 GIAMBOLOGNA (c.1529-1608) 5,481,280 1 5,481,280
325 CAVAROZZI Bartolomeo (c.1590-1625) 5,480,960 1 5,480,960
326 STURTEVANT Elaine (1930-2014) 5,464,894 12 2,900,000
327 SMART Frank Jeffrey Edson (1921-2013) 5,462,598 33 961,103
328 CHEN Hongshou (1598-1652) 5,458,659 20 1,945,200
329 REN Zhong (1976) 5,452,237 56 423,540
330 MATTA Roberto (1911-2002) 5,425,650 153 570,780
331 ZHU Qizhan (1892-1996) 5,417,335 209 260,000
332 ZHAO Puchu (1907-2000) 5,382,881 175 486,300
333 BANK SY (1974) 5,380,045 116 959,819
334 MANGOLD Robert (1937) 5,345,821 58 800,000
335 BOSSCHAERT Ambrosius I (1573-1621) 5,334,160 2 4,000,000
336 WANG Jian (1598-1677) 5,309,438 23 3,811,700
337 LAM Wifredo (1902-1982) 5,302,834 100 600,000
338 PIENE Otto (1928-2014) 5,284,162 213 480,390
339 YANG Shanshen (1913-2004) 5,279,455 184 1,427,360
340 NAUMAN Bruce (1941) 5,222,457 40 1,700,000
341 KANG Youwei (1858-1927) 5,199,080 113 324,200
342 BRADLEY Joe (1975) 5,192,688 10 1,305,768
343 GU Wenda (1955) 5,179,178 42 1,119,180
344 BOUDIN Eugene (1824-1898) 5,172,981 104 600,000
345 LIU Ye (1964) 5,117,193 34 891,550
346 GRECO EL Dom. Theotokopoulos (1541-1614) 5,100,000 1 5,100,000
347 VENTURA Ronald (1973) 5,097,987 29 838,500
348 HARTUNG Hans (1904-1989) 5,015,532 240 857,682
349 SPENCER Stanley (1891-1959) 5,014,671 20 4,336,275
350 CARRA Carlo (1881-1966) 4,999,735 21 4,422,600
Page 91
351 PU Guang (XIII -XIV) 4,944,050 1 4,944,050
352 HE Shaoji (1799-1873) 4,912,933 136 747,500
353 COORTE Adriaen (c.1660-c.1723) 4,908,450 2 4,708,800
354 SOTO Jesus Rafael (1923-2005) 4,906,306 121 525,000
355 LIU Jiyou (1918-1983) 4,891,144 108 399,595
356 REMBRANDT VAN RIJN (1606-1669) 4,885,402 440 536,688
357 GHENIE Adrian (1977) 4,862,652 12 2,045,760
358 CHEN Dayu (1912-2001) 4,855,807 247 454,160
359 CHILLIDA Eduardo (1924-2002) 4,823,521 161 1,155,070
360 ENSOR James (1860-1949) 4,814,933 294 714,966
361 GRIMSHAW John Atkinson (1836-1893) 4,811,754 18 751,584
362 DELVAUX Paul (1897-1994) 4,805,229 124 2,784,600
363 CHRISTO (1935) 4,800,793 297 498,480
364 LALANNE Francois-Xavier (1927-2008) 4,798,613 39 621,950
365 SHI Tao (1642-1707) 4,796,775 27 2,269,400
366 HARRIS Lawren Stewart H. (1885-1970) 4,781,163 8 1,933,260
367 QUINN Marc (1964) 4,779,987 48 1,100,000
368 ZHU Meicun (1911-1993) 4,776,671 117 570,150
369 JIA Aili (1979) 4,758,253 8 1,262,240
370 XI Dejin (1923-1981) 4,740,558 89 227,080
371 AMIET Cuno (1868-1961) 4,737,411 136 670,680
372 SCARPITTA Salvatore (1919-2007) 4,721,787 16 1,200,000
373 SHEN Peng (1931) 4,670,229 160 701,330
374 AI Weiwei (1957) 4,663,696 32 966,749
375 XU Lele (1955) 4,628,253 155 210,730
376 LIEBERMANN Max (1847-1935) 4,627,078 149 1,223,100
377 GOLTZIUS Hendrick (1558-1617) 4,619,842 53 3,939,670
378 LIPCHITZ Jacques (1891-1973) 4,610,254 25 1,800,000
379 PARRISH Maxfield Frederick (1870-1966) 4,589,371 19 3,000,000
380 KOUNELLIS Jannis (1936) 4,544,843 37 1,722,735
381 ZORN Anders Leonard (1860-1920) 4,537,219 200 1,794,000
382 GOTTLIEB Adolph (1903-1974) 4,534,316 31 1,800,000
383 YE Qianyu (1907-1995) 4,530,685 118 356,620
384 PICABIA Francis (1879-1953) 4,520,069 64 1,174,176
385 ANATSUI El (1944) 4,517,120 10 1,200,000
386 TIEPOLO Giovanni Domenico (1727-1804) 4,517,066 36 3,100,000
387 MUNOZ Juan (1953-2001) 4,512,835 11 3,184,800
388 SMITH David (1906-1965) 4,511,800 7 2,500,000
389 ZHU Yunming (1460-1526) 4,462,454 14 1,629,000
390 SCHEGGI Paolo (1940-1971) 4,444,290 23 674,581
391 NETSCHER Caspar (1635/39-1684) 4,441,804 5 4,400,000
392 MUNNINGS Alfred James (1878-1959) 4,427,134 29 1,850,000
393 LI Jin (1958) 4,372,647 94 212,160
394 ZHAN Wang (1962) 4,360,124 13 2,709,000
395 FANG Chuxiong (1950) 4,355,333 148 262,080
396 TIEPOLO Giovanni Battista (1696-1770) 4,339,805 45 3,857,950
397 LU Yushun (1962) 4,336,840 61 884,520
398 HUNT William Holman (1827-1910) 4,310,067 4 4,245,000
399 CHEN Wenxi (1906-1991) 4,242,709 71 1,095,650
400 TOULOUSE-LAUTREC de Henri (1864-1901) 4,240,018 252 760,265
Page 92
401 SAVILLE Jenny (1970) 4,228,890 4 2,970,180
402 CHENG Conglin (1954) 4,177,932 3 4,052,500
403 MARIESCHI Michele Giovanni (1696/1710-1743) 4,167,589 8 3,254,320
404 TAO Lengyue (1895-1985) 4,141,462 138 457,240
405 HE Duoling (1948) 4,131,489 12 1,419,000
406 KISLING Moise (1891-1953) 4,112,484 70 363,316
407 CAILLEBOTTE Gustave (1848-1894) 4,107,720 5 1,467,720
408 HANTAI Simon (1922-2008) 4,105,139 19 2,114,630
409 LONG Rui (1946) 4,047,039 66 956,980
410 ARMAN Fernandez (1928-2005) 4,037,285 425 117,028
411 LEMA YEUR DE MER PRES Adrien Jean (1880-1958) 4,026,595 45 850,739
412 MUNTER Gabriele (1877-1962) 4,022,639 28 814,176
413 CHADWICK Lynn Russell (1914-2003) 4,014,167 78 1,445,425
414 FORG Gunther (1952-2013) 4,008,736 133 308,304
415 MURAKAMI Takashi (1962) 4,003,340 343 1,034,551
416 LU Yifei (1908-1997) 3,995,369 121 791,293
417 MENZEL von Adolph (1815-1905) 3,983,246 38 3,483,480
418 VALTAT Louis (1869-1952) 3,956,926 127 258,685
419 KATZ Alex (1927) 3,955,397 150 470,000
420 KUZNETSOV Pavel Varfolomeevich (1878-1968) 3,944,844 4 3,418,041
421 MARTIN Henri (1860-1943) 3,941,492 30 520,000
422 VALDES Manolo (1942) 3,929,743 46 350,000
423 RAUCH Neo (1960) 3,889,711 22 1,452,088
424 TERPNING Howard A. (1927) 3,858,580 18 1,300,000
425 ZHANG Shanzi (1882-1940) 3,840,085 90 324,200
426 WESTON Edward Henry (1886-1958) 3,802,863 82 750,000
427 OCHTERVELT Jacob (c.1634-1708/10) 3,800,000 1 3,800,000
428 WANG Guangyi (1957) 3,799,843 37 1,167,120
429 GAITONDE Vasudeo. S. (1924-2001) 3,799,700 4 2,100,000
430 WEI Zixi (1915-2002) 3,791,768 120 235,190
431 GOYEN van Jan Jozefsz. (1596-1656) 3,789,347 29 1,200,000
432 YUN Shouping (1633-1690) 3,784,559 78 541,800
433 CHANN George (1913-1995) 3,774,643 57 335,400
434 BLUEMNER Oscar Florianus (1867-1938) 3,762,170 13 3,200,000
435 VARO Remedios Lizarraga (1908-1963) 3,747,642 2 3,700,000
436 LARIONOV Mikhail (1881-1964) 3,737,699 16 2,682,080
437 PAN Gongkai (1947) 3,737,332 16 2,141,040
438 MASRIADII Nyoman (1973) 3,729,217 16 567,160
439 VAREJAO Adriana (1964) 3,725,662 7 800,650
440 BOTTICELLI Sandro (c.1445-1510) 3,720,075 3 1,884,080
441 CRUZ-DIEZ Carlos (1923) 3,718,605 60 420,000
442 MACKE August (1887-1914) 3,703,536 32 1,850,400
443 SHA Menghai (1900-1992) 3,702,566 132 293,940
444 FRANKENTHALER Helen (1928-2011) 3,698,590 73 720,000
445 STERN Irma (1894-1966) 3,689,564 19 1,495,170
446 HUANG Shen (1687-c.1773) 3,685,764 49 425,100
447 HEMESSEN van Jan Sanders (1500/04-1566/75) 3,682,520 2 2,569,200
448 HOFMANN Hans (1880-1966) 3,681,690 26 2,000,000
449 PROVOST Jan (c.1465-1529) 3,680,012 2 3,100,000
450 LIN Yong (1942) 3,650,618 117 259,360
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451 KERTON Sudjana (1922-1994) 3,649,947 11 1,417,899
452 JORN Asger (1914-1973) 3,643,315 133 324,818
453 BURRA Edward (1905-1976) 3,642,410 22 1,142,740
454 KELLEY Mike (1954-2012) 3,636,635 23 1,600,000
455 TENIERS David II (1610-1690) 3,632,938 21 750,000
456 LIAO Chi-Chun (1902-1976) 3,625,280 9 1,252,033
457 LONGO Robert (1953) 3,612,556 98 513,840
458 PASSANTE Bartolomeo (1618-1648) 3,599,190 1 3,599,190
459 BALLA Giacomo (1871-1958) 3,588,365 54 769,680
460 COURBET Gustave (1819-1877) 3,578,125 24 700,000
461 LI Shan (1686-1760) 3,569,789 38 652,800
462 LAN Ying (1585-c.1664) 3,562,896 42 438,210
463 SUGIMOTO Hiroshi (1948) 3,542,833 95 520,000
464 YANG Zhiguang (1930) 3,525,002 119 195,840
465 INGRES Jean Auguste Dominique (1780-1867) 3,508,968 26 1,386,180
466 PEPLOE Samuel John (1871-1935) 3,501,514 13 1,275,375
467 KIM Tschang-Yeul (1929) 3,498,988 42 451,149
468 ZHANG Enli (1965) 3,497,596 12 708,949
469 GHEYN de Jacques II (1565-1629) 3,491,701 19 1,627,255
470 LEBASQUE Henri Baptiste (1865-1937) 3,472,758 64 391,512
471 YANG Feiyun (1954) 3,467,338 14 734,400
472 ZHOU Jingxin (1959) 3,445,045 113 519,040
473 TORRES GAR CIA Joaquin (1874-1949) 3,411,455 20 1,300,000
474 FRINK Elisabeth (1930-1993) 3,409,773 67 1,530,450
475 JIANG Hanting (1904-1963) 3,408,711 125 300,625
476 WANG Ziwu (1936) 3,404,947 51 653,200
477 KA WS (1974) 3,396,906 56 351,934
478 LE PHO (1907-2001) 3,396,747 96 696,059
479 LIU Yi (1957) 3,370,316 20 615,980
480 ADAMS Ansel Easton (1902-1984) 3,353,714 140 450,000
481 NI Yuanlu (1593-1644) 3,350,382 10 1,100,000
482 BENTON Thomas Hart (1889-1975) 3,349,054 137 850,000
483 LESIDANER Henri (1862-1939) 3,340,698 31 700,000
484 ARCHIPENK O Alexander (1887-1964) 3,335,600 33 1,400,000
485 GERICAULT Theodore (1791-1824) 3,322,551 29 1,158,223
486 VERBEECK Frans (?-1570) 3,320,200 1 3,320,200
487 POMODORO Arnaldo (1926) 3,319,259 66 509,568
488 RIVERA Diego (1886-1957) 3,316,561 43 780,000
489 FA Ruozhen (1613-1696) 3,309,474 6 3,031,270
490 NISSKIJ Georgij Grigor'evic (1903-1987) 3,302,214 4 2,514,450
491 MATHIEU Georges (1921-2012) 3,289,730 94 174,468
492 CHIU Ya Tsai (1949-2013) 3,288,319 53 180,459
493 MIKLOS Gustave (1888-1967) 3,287,953 16 936,899
494 MACK Heinz (1931) 3,285,640 157 500,000
495 ASAWA Ruth (1926-2013) 3,280,850 13 1,144,000
496 HUSAIN Maqbool Fida (1915-2011) 3,275,069 54 318,953
497 SMITH Lucien (1989) 3,267,887 43 304,010
498 WEN Jia (1501-1583) 3,261,051 17 1,986,160
499 OLIVIER Friedrich (1791-1859) 3,249,008 2 3,247,920
500 WU Dayu (1903-1988) 3,248,689 9 772,800
資料來源: 法國 Artprice.com S.A. 2014 年全世界藝術市場報告書第 84-93 頁 2014 年全世界拍賣總收入結果前 500 名畫家.
Source: The Art Market in 2014 Page 84-93 Top 500 artists by auction revenue in 2014 by Artprice.com S.A.
Taiwan Web Museum
A Free Exhibition Museum in the Internet World
台灣網路藝術美術博物館
網路世界裡的免費博物館
台湾网络艺术美术博物馆
网络世界里的免费博物馆
Free Website to See Paintings by Chinese Artists Listed in 2011 World Auction Revenue Top 30 and Rare Archaic Chinese Ancient Antiques
觀賞2011年列名世界拍賣總收入前30名中國畫家名畫作品及中國古代罕見的古董之免費網址
Welcome to identify your Chinese Paintings and Works of Art! Our help is free of charge!
歡迎辨識您的中國書畫及藝術品! 我們的協助是免費的!
Mr. Orion Hsu & Brothers (徐氏兄弟珍藏文物)
Private Museum preparatory office
中國書畫文物博物館籌備企劃辦公室
#1 orionandhsu@yahoo.com.tw
#2 orionandhsu@gmail.com
#1 http://orionwebmuseum.blogspot.com
#2 http://taiwanwebmuseum.blogspot.com
#3 http://orionandhsu.blogspot.com
#4 http://art-3000.com/artist/orionandhsu/
#5 http://blog.udn.com/taiwanwebmuseum/article
#6 http://www.flickr.com/photos/orionmuseum/
臉書藝術網站
A Facebook public group “Fine Art to sell” to exhibit fine art to sell
A public Facebook group to exhibit freely fine art for sale to buyers worldwide
https://www.facebook.com/groups/fine.art.to.sell/
One hundred views/clicks per day at Flickr 於 Flickr 網站每天有一百人次閱覽
https://www.flickr.com/photos/orionmuseum/18207959416/
地球某處白色鈣化小恐龍化石 命名為《我有牙齒》
A White Calcified Baby Dinosaur Fossil named《I have teeth》at somewhere on Earth
非賣品(只供博物館展覽用)
Not for Sale (For Museum Exhibition Only)
地球某處白色鈣化小恐龍化石 命名為《我有牙齒》 A White Calcified Baby Dinosaur Fossil named《I have teeth》at somewhere on Earth ︰
尺寸 Size: 高 H 7 x 長 L 53 x 厚 Depth 12 公分 cm
世界上目前唯一被發現之小恐龍軀體化石:
此小恐龍之四腳成逃命奔跑姿態, 應是先由火山爆發時所產生高達攝氏300度的高溫火山灰所瞬間覆蓋, 使其皮膚碳化如義大利龐貝古城內維蘇威火山大噴發當時約20具罹難者軀體, 再經由數千萬年或是數億年的鈣化而成為白色軀體.
The unique baby dinosaur body fossil ever discovered in the world nowadays:
The four feet of this baby dinosaur were running for surviving from perils. It should have been suddenly covered by the volcanic ash at so high as 300 degrees centigrade thermometer from the volcanic eruption and its skin was carbonized as the 20 victim-citizen-bodies in Pompeii Italy during the great Mount Vesuvius volcanic eruption. It was further calcified after several ten or hundred millions years and became a white calcified body.
有關遠古恐龍的專題研究:
1. 此小恐龍軀體化石是最佳且唯一的抽取遠古 aDNA 基因的樣本, 可供研究遠古 aDNA 基因之存活率及衰退期. 而此正是從事研究遠古 aDNA 基因科學家及法醫病理學者專家長久以來所遭遇到遠古 aDNA 基因及其衰退期的探索中心.
2. 以前所發現的恐龍軀體化石都僅只是沒肉, 沒皮, 沒外觀的骨骼及骨架. 牠們的外觀僅是科學想像, 且皮膚顏色亦是不明. 而此小恐龍軀體化石已經明確地展現出牠的外觀及白色皮膚. 此小恐龍是否與居住在北極圈的北極熊一樣地白色? 此小恐龍是否跑的與在赤道區域狩獵的花豹同樣地快? 此小恐龍異常巨大的牙齒是否讓牠成為地球上之無敵獵食者?
Subject case researches about ancient dinosaur:
1. This baby dinosaur body fossil is the best and unique sample to be extracted for its ancient DNA (aDNA) to study the questions of aDNA survival and rate of decay those have been central for a long time to scientists engaged in aDNA research, and also in forensic cases where old and degraded DNA is encountered.
2. All the dinosaur body fossils ever discovered before are just bones and skeletons without meat, skin, and their appearances. Their appearances are just scientific fictions with unknown skin colors. This baby dinosaur body fossil has given people a certain appearance with white skin color. Was this baby dinosaur as white as a polar bear living at the Arctic Circle? Was this baby dinosaur running as fast as leopard hunting at the area of celestial equator? Were its extraordinarily huge teeth making it to be an overwhelming hunter and meat-eater on earth?
Video 視訊影片
http://www.dailymotion.com/orionmuseum
https://www.flickr.com/photos/orionmuseum/20045248980/
https://www.youtube.com/watch?v=PRNHXfQiuPg
https://www.youtube.com/watch?v=2KPCWCb8mwQ
https://www.youtube.com/watch?v=an4_8Q9Wrks&spfreload=10
http://wn.com/orionmuseum
https://www.stage32.com/media/1219953340222283815
http://v.youku.com/v_show/id_XMTMwNjUzMDQzMg==.html?from=y1.7-1.2
http://www.tudou.com/programs/view/SYWNnfbWcJM/
https://www.facebook.com/orion.hsu/videos/o.1424536747868724/906393329422144/?type=2&theater
https://www.facebook.com/MuseumOfFineArt/videos/1054287541268640/
https://www.facebook.com/278796392215266/videos/909592305802335/
https://plus.google.com/112650555659617705179/posts/h8tZVWJdS38?pid=6178372545145710242&oid=112650555659617705179
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99 Paintings 書畫 12 Antiques 古董
99 Fine Chinese Paintings and 12 Antiques in 2013
2013 年 99 幅中國書畫及 12 件古董精品
Chinese Painters 中國畫家:
(1) 張大千 Zhang Daqian 张大千 (32 幅/pcs)
(2) 齊白石 Qi Baishi 齐白石 (10 幅/pcs)
(3) 徐悲鴻 Xu Beihong 徐悲鸿 (8 幅/pcs)
(4) 吳冠中 Ｗu Guanzhong 吴冠中 (7 幅/pcs)
(5) 傅抱石 Fu Baoshi 傅抱石 (3 幅/pcs)
(6) 李可染 Li Keran 李可染 (1 幅/pc)
(7) 陸儼少 Lu Yanshao 陆俨少 (1 幅/pc)
(8) 黃冑 Huang Zhou 黃冑 (1 幅/pc)
(9) 黃賓虹 Huang Binhong 黄宾虹 (3 幅/pcs)
(10) 吳昌碩 Wu Changshuo 吴昌硕 (1 幅/pc)
(11) 林風眠 Lin Fengmian 林风眠 (4 幅/pcs)
(12) 吳湖帆 Wu Hufan 吴湖帆 (4 幅/pcs)
(13) 謝稚柳 Xie Zhiliu 谢稚柳 (1 幅/pc)
(14) 黃君璧 Huang Junbi 黄君璧 (2 幅/pc)
(15) 愛新覺羅 溥儒 Pu Ru 溥心畬 Pu Xinyu (1 幅/pc)
(16) 唐雲 Tang Yun 唐云 (1 幅/pc)
(17) 趙少昂 Zhao Shao’Ang 赵少昂 (3 幅/pcs)
(18) 何海霞 He Haixia 何海霞 (1 幅/pc)
(19) 關山月 Guan Shanyue 关山月 (1 幅/pc)
(20) 豐子愷 Feng Zikai 丰子恺 (1 幅/pc)
(21) 顏伯龍 Yan Bolong 颜伯龙 (4 幅/pcs)
(22) 愛新覺羅溥佐 Aisin Gioro Pu Zuo (1 幅/pc)
(23) 高逸鴻 Gao Yihong 高逸鸿 (1 幅/pc)
(24) 田世光 Tian Shiguang 田世光 (1 幅/pc)
(25) 袁松年 Yuan Songnian 袁松年 (1 幅/pc)
(26) 高奇峰 Gao Qifeng 高奇峰 (1 幅/pc)
(27) 陳之佛 Chen Zhifo 陈之佛 (1 幅/pc)
(28) 陳半丁 Chen Banding 陈半丁 (1 幅/pc)
(29) 馮超然 Feng Chaoran 冯超然 (1 幅/pc)
(30) 鄭板橋 Zheng Banqiao 郑板桥 (1 幅/pc)
Works of Art 藝術品:
(1) 古董 Antiques (2 件/pcs)
(2) 玉 Jades (8 件/pcs)
(3) 羊脂白玉 Mutton Fat White Jades (2 件/pcs)
99 Paintings 書畫 12 Antiques 古董
Works of Art List 藝術作品名錄
Paintings 書畫作品
Chinese Painters 中國畫家:
(1) 張大千 Zhang Daqian 张大千 (32 幅/pcs)
1. Zhang Daqian Happy Birthday to Chairman Chang Kaishek of the Government inscribed by Yu Youren 張大千作于右任題大觀高仕祝壽圖手卷
2. Zhang Daqian After the Rising and Warm Green Mountains by Huang Gongwang with Calligraphy 張大千作擬元代黃公望浮巒暖翠山水圖及書法立軸
3. Zhang Daqian Splashed Landscape Fuchun Mountain 張大千作富春山居潑彩山水圖
4. Zhang Daqian Mountain Emei May Be Crossed On Top 張大千作可以橫絕峨嵋巔潑彩山水圖
5. Zhang Daqian A Bird’s-eye View on Taiwan Cross-Island Road near Herhuan 張大千作台灣橫貫公路合歡山鳥瞰金碧潑彩山水圖
6. Zhang Daqian 18 Luohan Disciples Appointed to Witness to Buddhist Truth handscroll 張大千作十八羅漢圖手卷
7. Zhang Daqian The Dreamland of Mountain Qingcheng in Heavenly Place 張大千作夢入靑城天下幽人間仙境圖
8. Zhang Daqian The Heavenly Place in Mankind World 張大千作人家在仙堂潑彩山水圖
9. Zhang Daqian Sun is Rising and Darkness is Fallen allover the Mountain with Calligraphy 張大千作天開影墮潑彩山水圖及書法對聯
10. Zhang Daqian Painting the Elder Bintourlu after Technique of Song Dynasty 張大千作倣宋人畫賓頭盧尊者像
11. Zhang Daqian Listening to the Springs below the Mountains handscroll 張大千作山水生風聽泉入山麓金碧潑彩山水圖手卷
12. Zhang Daqian Waterfall in a Quiet Mountain Valley with Calligraphy 張大千作幽谷飛瀑潑彩山水圖及書法對聯
13. Zhang Daqian Recalling the Beautiful Scenery of Mountain Huang in China 張大千作遙思黃山故景潑彩山水圖
14. Zhang Daqian Splashed Colour Landscape of Beautiful Mountain Qingcheng 張大千作青城天下幽潑彩山水圖
15. Zhang Daqian Golden Outline Red Lotus and a Flying Bird 張大千作香清鈎金紅荷翔鳥圖
16. Zhang Daqian One Flower in One World White Lotus and attached calligraphy 張大千作一花一世界白荷花圖及書法立軸
17. Zhang Daqian Lady with a Fan Bamboos Parrot Hairpin in Tang’s Clothes 張大千作仿莫高窟初唐人衣飾鸚鵡簪髮飾新篁紈扇仕女圖
18. Zhang Daqian Beauty in Red Hair-kerchief Wooden Shoes White Robe Bamboos 張大千作脩竹紅髮巾木屐白袍裸肩日本美女圖
19. Zhang Daqian Han Changli Composed a Lyric Poem Derived from Chu Dynasty 張大千作韓昌黎作楚語圖
20. Zhang Daqian Scholars Appreciating Maples 張大千作高仕賞楓圖
21. Zhang Daqian Black Cloud Covering on Top of Mt. Emei among Blue Cloud 張大千作可以橫絕峨眉巔黑雲滿布山頂藍雲環繞山間奇景潑墨兼潑彩山水圖
22. Zhang Daqian Dwelling in the Mountain by the Lake Wuting 張大千作五亭湖上山居潑彩山水圖
23. Zhang Daqian Spring Cloud and Morning Mist dated 1979 張大千1979年作春雲曉靄潑彩山水圖
24. Zhang Daqian Spring Cloud and Morning Mist dated 1965 張大千1965年作春雲曉靄潑彩山水圖
25. Zhang Daqian Impressionistic Red Lotus 張大千作寫意紅荷圖
26. Zhang Daqian Golden Outlined Red Lotus and Double Mandarin Ducks 張大千作愛清氣鈎金紅荷花鴛鴦嘉耦潑彩圖
27. Zhang Daqian High Mountain and Deep Cloud 張大千作山高雲深山水圖
28. Zhang Daqian Golden Outlined Landscape 張大千作金碧山水圖
29. Zhang Daqian Lady with a Fan and Bamboos in Splashed Colors 張大千作潑彩竹葉紈扇仕女圖
30. Zhang Daqian Seven Character Calligraphy Couplet 張大千作七言書法對聯
31. Zhang Daqian Six Character Calligraphy Couplet 張大千作六言書法對聯
32. Zhang Daqian Splashed Color Golden Outlined Red Lotus on Gold Sheet 張大千作金箋潑彩描金紅荷花圖
(2) 齊白石 Qi Baishi 齐白石 (10 幅/pcs)
1. Qi Baishi Lotus Fish Frogs Shrimps and Crabs handscroll inscribed by Zhang Daqian 齊白石作張大千題香清荷花魚蛙蝦蟹圖手卷
2. Qi Baishi The Ten Elder Men in the Legend of China 齊白石作十全老人神賢圖
3. Qi Baishi Lotus Double Mandarin Ducks and Love Shrimps 齊白石作荷花鴛鴦雙蝦佳偶圖
4. Qi Baishi Wealth and Powerful Honour are Both to Come 齊白石作富貴有期圖
5. Qi Baishi Lotus and Shrimps 齊白石作荷花群蝦圖
6. Qi Baishi A Lotus Pond and Shrimps 齊白石作荷花池塘群蝦圖
7. Qi Baishi A Spring Voice and Great Luck 齊白石作春聲大吉圖
8. Qi Baishi Eagle Perching on the Pine 齊白石作松鷹圖
9. Qi Baishi Prolonging Life Impressionistic Squirrel on Pine Red Peach Double Screens 齊白石作寫意松樹上松鼠與紅桃益壽圖對屏
(3) 徐悲鴻 Xu Beihong 徐悲鸿 (8 幅/pcs)
1. Xu Beihong The Hard Water Drawing of the People Lived in Chongqing handscroll inscribed by Zhang Daqian 徐悲鴻作張大千題巴人汲水圖手卷
2. Xu Beihong Jiufang Gao People in the Chinese Ancient Historical Poem 徐悲鴻作九方皋圖
3. Xu Beihong People in Chinese Ancient Historical Poem of Six Dynasties 徐悲鴻作六朝人詩意圖
4. Xu Beihong China the Wounded Lion Sat Watching American Flying Tiger 徐悲鴻作中國負傷之獅遙望美國飛虎飛將軍
5. Xu Beihong Lions and Snake 徐悲鴻作獅與蛇
6. Xu Beihong The Single Flying Eagle and the Lion 徐悲鴻作獨飛老鷹與獅子圖
7. Xu Beihong Lion and Eagle 徐悲鴻作獅子老鷹圖
8. Xu Beihong Prolonging Life Auspicious Cranes Ganoderma Lucidum Fungus 徐悲鴻作祥鶴靈芝延年益壽圖
(4) 吳冠中 Ｗu Guanzhong 吴冠中 (7 幅/pcs)
1. Wu Guanzhong The People Live in Mali Village 吳冠中作馬里村頭人物風景圖
2. Wu Guanzhong The Dwellings by the River and Mountain in Southern China 吳冠中作江南民居風景圖
3. Wu Guanzhong The Lion Grove Garden (Lion Woods) 吳冠中作獅子林
4. Wu Guanzhong The Wu Gorge 吳冠中作巫峽魂
5. Wu Guanzhong Rocks by the Sea 吳冠中作海滨石
6. Wu Guanzhong The Single-Log Bridge 吳冠中作獨木橋
7. Wu Guanzhong Expressionistic Lotus 吳冠中作表現主義的荷花
(5) 傅抱石 Fu Baoshi 傅抱石 (3 幅/pcs)
1. Fu Baoshi Hwan Shyua Showed Painting to Guests in East Jin Dynasty handscroll inscribed by Yu Youren 傅抱石作于右任題詩入畫中桓玄出畫圖手卷
2. Fu Baoshi The Nine Elders of the Poetry by Bai Juyi in Tang Dynasty handscroll inscribed by Xu Beihong 傅抱石作徐悲鴻題元氣淋漓九老圖手卷
3. Fu Baoshi Premier Xie An Brought Beauties to the East Shan Mountain handscroll inscribed by Xie Zhiliu 傅抱石作謝稚柳題春風綠揚東山攜妓圖手卷
(6) 李可染 Li Keran 李可染 (1 幅/pc)
1. Li Keran The Landscape of River Li being Well-known Forever 李可染作漓江山水傳千古圖
(7) 陸儼少 Lu Yanshao 陆俨少 (1 幅/pc)
1. Lu Yanshao Spring and Rocks Landscape of Mountain Yandang 陸儼少作雁蕩泉石山水圖
(8) 黃冑 Huang Zhou 黃冑 (1 幅/pc)
1. Huang Zhou The Children and Father Sitting on the Back of Camels 黃冑作駱駝背上的小學生與父親
(9) 黃賓虹 Huang Binhong 黄宾虹 (3 幅/pcs)
1. Huang Binhong Landscape 黃賓虹作山水圖
2. Huang Binhong Landscape Hanging Scroll (1) 黃賓虹作山水圖立軸(1)
3. Huang Binhong Landscape Hanging Scroll (2) 黃賓虹作山水圖立軸(2)
(10) 吳昌碩 Wu Changshuo 吴昌硕 (1 幅/pc)
1. Wu Changshuo Annual Purely Floral and Fruity Tributes 吳昌碩作歲朝清供圖
(11) 林風眠 Lin Fengmian 林风眠 (4 幅/pcs)
1. Lin Fengmian Five Naked Ladies 林風眠作五裸女圖
2. Lin Fengmian Two Beautiful Ladies and the Vase 林風眠作二美與花瓶圖
3. Lin Fengmian Three Beautiful Ladies and the Vase 林風眠作三美與花瓶圖
4. Lin Fengmian Court Ladies and the Vase 林風眠作宮女與花瓶圖
(12) 吳湖帆 Wu Hufan 吴湖帆 (4 幅/pcs)
1. Wu Hufan Dwelling in the Mountains handscroll inscribed by Xie Zhiliu 吳湖帆作謝稚柳題春風綠揚枝山居圖手卷
2. Wu Hufan Dwelling in the Mountains 吳湖帆作山居圖
3. Wu Hufan Landscape after Zhao Mengfu 吳湖帆作擬趙孟頫山水圖
4. Wu Hufan Seven Character Calligraphy Couplet 吳湖帆作七言書法對聯
(13) 謝稚柳 Xie Zhiliu 谢稚柳 (1 幅/pc)
1. Xie Zhiliu Landscape in Windy Spirit 謝稚柳作生風抖擻山水圖
(14) 黃君璧 Huang Junbi 黄君璧 (2 幅/pc)
1. Huang Junbi High Mountains and Flowing Waters Landscape 黃君璧作高山流水山水圖 (鏡片 mounted)
2. Huang Junbi High Mountains and Flowing Waters Landscape 黃君璧作高山流水山水圖 (立軸 hanging scroll)
(15) 愛新覺羅 溥儒 Pu Ru 溥心畬 Pu Xinyu (1 幅/pc)
1. Pu Ru Green Mountain and White Cloud handscroll inscribed by Zhang Daqian 溥儒作張大千題青山白雲山水圖手卷
(16) 唐雲 Tang Yun 唐云 (1 幅/pc)
1. Tang Yun Birds and Flowers 唐雲作花鳥圖
(17) 趙少昂 Zhao Shao’Ang 赵少昂 (3 幅/pcs)
1. Zhao Shao’Ang Flowers and Bird Double Screen 趙少昂作花鳥圖對屏
2. Zhao Shao’Ang Tall Willow Tree Morning Cicada Bamboos and Little Bird 趙少昂作高柳曉蟬竹葉小鳥圖
(18) 何海霞 He Haixia 何海霞 (1 幅/pc)
1. He Haixia Landscape 何海霞作山水圖
(19) 關山月 Guan Shanyue 关山月 (1 幅/pc)
1. Guan Shanyue Spring is coming to Southern Guangdong Landscape 關山月作春到南粵山水圖
(20) 豐子愷 Feng Zikai 丰子恺 (1 幅/pc)
1. Feng Zikai A Small Table Three Friends and Plum Blossoms 豐子愷作小桌三朋梅花圖
(21) 顏伯龍 Yan Bolong 颜伯龙 (4 幅/pcs)
1. Yan Bolong Colorful Birds Flowers and Plants Four Screens 顏伯龍作彩鳥與花草小樹圖四條屏
(22) 愛新覺羅溥佐 Aisin Gioro Pu Zuo (1 幅/pc)
1. Aisin Gioro Pu Zuo Two Beautiful Horses 愛新覺羅溥佐作雙駿馬圖
(23) 高逸鴻 Gao Yihong 高逸鸿 (1 幅/pc)
1. Gao Yihong Beautiful Flowers Attracting Bees 高逸鴻作群花爭艷招蜂圖
(24) 田世光 Tian Shiguang 田世光 (1 幅/pc)
1. Tian Shiguang Flowers and Birds 田世光作花鳥圖
(25) 袁松年 Yuan Songnian 袁松年 (1 幅/pc)
1. Yuan Songnian Landscape 袁松年作山水圖
(26) 高奇峰 Gao Qifeng 高奇峰 (1 幅/pc)
1. Gao Qifeng Flowers and Bamboos 高奇峰作花竹圖
(27) 陳之佛 Chen Zhifo 陈之佛 (1 幅/pc)
1. Chen Zhifo Wild Geese under Willow Shadow 陳之佛作柳蔭雁鴨圖
(28) 陳半丁 Chen Banding 陈半丁 (1 幅/pc)
1. Chen Banding Flowers and Birds 陳半丁 ( 陳年 ) 作花鳥圖
(29) 馮超然 Feng Chaoran 冯超然 (1 幅/pc)
1. Feng Chaoran Landscape 馮超然作山水圖
(30) 鄭板橋 Zheng Banqiao 郑板桥 (1 幅/pc)
1. Zheng Banqiao Orchids Bamboos and Rocks 鄭板橋作蘭竹石圖
Works of Art 藝術品:
Antiques 古董
(1) 古董 Antiques (2 件/pcs)
1. A Bronze Money-Shaking Fortune Tree Qing Dynasty China 中國清朝青銅搖錢樹
2. A Gilt-Bronze Guanyin Bodhisattva Figure Tang Dynasty China 中國唐朝銅鎏金觀音菩薩造像
(2) 玉 Jades (8 件/pcs)
1. A White Jade Pig-and-Bird-Winged Dragon Winged Mythical Beast Hongshan Culture China 中國紅山文化古白玉雕豬鳥翼形龍
2. A White Jade Persian Face Elephant Puzzle Han Dynasty China 中國漢朝古玉雕波斯人面大象紋益智拼圖
3. A Green Jade Sword Token of Imperial Authority by Emperor Shang Dynasty China 中國商朝古青玉雕玉劍令牌
4. A Jade Fish Wine-Cup Western Zhou Dynasty China 中國西周古玉雕魚形酒杯
5. A Red Jade Military Token Qing Dynasty China 中國清朝古紅玉雕軍事玉令牌
6. A White Jade Cavalrymen War Horses Halberds of Middle Sizes Militarism Worship Cong of the First Emperor of Qin 中國東周戰國至秦朝時期古白玉雕騎兵戰馬中戟紋秦始皇帝崇武玉琮
7. A Pale Celadon Greenish White Jade Linking Nipple Grain Phoenix Twisted Ropes Heaven Worship Bi of Nation Chu 中國東周戰國時期古青白玉淺浮雕勾連乳丁穀紋鳳紋扭繩紋楚國祭天玉璧
8. A Celadon Green Jade Twisted Ropes Triple Sitting Hornless Dragons Green-Dragon-Son-of-Heaven Pendant 中國西周時期古青玉雕扭繩紋三盤螭龍青龍天子珮
(3) 羊脂白玉 Mutton Fat White Jades (2 件/pcs)
1. A Mutton Fat White Jade Linking Clouds Royal Dragon Pendant Western Han Dynasty China 中國西漢古羊脂白玉透空圓雕勾連雲紋龍形珮
2. A Coincident Carved Khotan Russet Skin Mutton Fat White Jade Sitting Double-humped Camel Western Han Dynasty China 中國西漢和闐黑棗皮古羊脂白玉巧雕坐姿雙峯駱駝
=======================================
Paintings 書畫作品
=======================================
++001++
Happy Birthday to Chairman Chang Kaishek of the Government
by Zhang Daqian dated 1944, preface inscribed by Yu Youren.
張大千作于右任題引首 "大觀高仕祝壽圖" 手卷
Painting H45.5 x W312 ,Preface H43 x W55 cm
Ink & color on paper, handscroll, signed DAQIAN ZHANG YUAN, inscribed 1944 AUTUMN DAY,with 3 seals of the artist. Preface signed YU YOUREN, inscribed GRAND VIEW,with 2 seals of the inscriber.
This was made by Zhang Daqian in autumn 1944 to celebrate the birthday (Oct.31) on Chairman Chiang Kaishek of National Government via the presentation by Yu Youren, Minister of Control Yuen.
The totem is the boy holding a crane with fleshy red knob on the head. This means “Long Live the Elder!”. The Elder sitting at right-hand side represented Chairman Chiang Kaishek who attained the dignity of Presidency to be kept away from other common people!
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Yu Youren means “True Authenticity”!
張大千1944年作由于右任題引首之 "大觀高仕祝壽圖" 手卷名畫. 題識:甲申秋日大千張爰. 三鈐印:張爰私印,大千,大風堂. 引首:大觀 于右任. 二鈐印:關中于氏,右任. 此手卷為張大千於1944年秋天,祝賀國民政府蔣介石主席壽(10月31日)的匠心鉅作.祝壽之圖騰為手持丹頂鶴之祝壽童子,右方端坐受禮者即為蔣介石主席,因獲總統之高位故遠離其他群眾. 張大千1944年作由國民政府第3任監察院院長于右任題引首之“大觀高仕祝壽圖”手卷名畫足可視為張大千之真跡原作品.
++002++
After the Rising and Warm Green Mountains by Huang Gongwang
with Calligraphy by Zhang Daqian dated 1947.
Ink and color on paper,mounted,signed and titled 1947 AUTUMN LUNAR JULY AFTER ZI JIU (Huang Gongwang 1269-1354) RISING AND WARM GREEN MOUNTAINS AT DAFENGTANG ZHANG YUAN,inscribed LISTENING TO THE SPRINGS BELOW THE MOUNTAINS,VISITING OLD FRIEND TO THE SOURCE OF PINE TREES,ARRIVING NOWHERE IN THE DEEP MOUNTAINS,HAVING AN APE HANGING ON TOP BRANCHES OF A TREE,with 3 seals of the artist. Calligraphy: Ink on paper, mounted, hanging scroll, signed INSCRIBED BY SHU JUN ZHANG DAQIAN YUAN, inscribed THE JOURNEY OF CHINESE POEM AND MUSIC, with 5 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
The handwritings of Zhang Daqian in this are the same as those 20 words in "Listening to the springs below the mountains" by Zhang Daqian(1975 H49xW110cm "Select Paintings of Zhang Daqian" P.100,by Museum of History Taipei May 1976.).
The original painting "Rising and Warm Green Mountains" by Huang Gongwang (Huang Kongwang 1269 - 1354 Yuan Dynasty) has been lost. But that was a painting of great renown in southern China from mid- to the end of Ming Dynasty. Famous painting connoisseur Dong Qichang (1555 - 1636) in Ming Dynasty evaluated that as the best one by Huang Gongwang. Thus the paintings after that by those famous artists in Qing Dynasty were all collected as treasures by National Palace Museum, Taipei, Taiwan. This should be the best one after that ever since Qing Dynasty and become priceless!
Size: Painting H93 x W176.5 cm, Calligraphy H135.5 x W67.5 cm.
張大千1947年作 "擬元代黃公望浮巒暖翠山水圖及書法立軸"
畫: H93 x W176.5 cm 橫幅設色紙本鏡片. 書法: 紙本立軸 H135.5 x W67.5 cm.
畫心題識: 聽泉入山麓,訪舊到松源,蹤跡無知處,高枝一掛猿.丁亥秋孟擬子久浮巒暖翠於大風堂下張爰.
三鈐印: 張爰私印,大千居士,大風堂.
書法題識: 中國詩樂之旅, 蜀郡張大千爰題.
五鈐印: 大風堂, 大千居士, 長共天難老, 春長好, 以介眉壽.
子久即元代黃公望(1269 - 1354),其 "浮巒暖翠山水圖" 之原作已無存世, 卻在明代中後期流傳於江南一帶，並被明代書畫鑑賞名家董其昌 (1555 - 1636) 評為黃公望之畫作第一名, 故清代名家之擬作品皆為台灣台北故宮博物院珍藏為寶貴藝術品, 而此幅名畫應為其史上的最佳擬作, 可謂無價之寶.
本件名畫之題識 "聽泉入山麓,訪舊到松源,蹤跡無知處,高枝一掛猿." 20個文字,與台灣台北歷史博物館1976年5月初版 "張大千作品選集" 第100頁圖版 "聽泉入山麓" (H49xW110 cm 1975年作) 之題識20個文字 "完全相同", 故為真正.
++003++
Splashed Landscape Fuchun Mountain
by Zhang Daqian dated 1978.
張大千1978年作"富春山居潑彩山水圖"H118xW235.5cm橫幅設色紙本鏡片
題識:江靜潮平豈偶然,一山纔過一山連,釣臺近處行當緩,何用風牽上瀨船.
戊午年秋月大千居士爰.
二鈐印:西川張爰,張爰私印.
本圖題識中"江x潮平豈偶然,一山纔過一山連,釣臺近處行當緩,何用風牽上瀨船."27個文字及簽名"爰",與台灣台北歷史博物館1982年2月初版"張大千書畫集第三集"第50-51頁圖版37"富春山圖"(H69xW140cm 1980年12月作)之題識27個文字及簽名完全相同,故為真正.
Splashed ink and colour on paper,mounted,signed 1978 AUTUMN DAQIAN JUSHI YUAN,inscribed FUCHUN RIVER IS ONLY TIDELESS INCIDENTALLY,PEOPLE PASS MOUNTAIN OVER AND OVER,IT SHOULD BE SLOW NEAR YENLING DIAOTAI(富春江嚴陵釣臺),THE BOAT SAIL BLOWED BY WIND IS USELESS! with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this are the same as those 27 characters in "Fuchun Mountain" by Zhang Daqian(dated 1980 H69xW140cm "Paintings of Zhang Daqian,Vol.3",P.50-51,Pic.37,Museum of History,Taipei,Taiwan Feb.1982.).It’s “True Authenticity”!
"Landscape Fuchun Mountain" is quite a very famous painting subject for Chinese famous artists in the history! Some of them are priceless and collcted by National Palace Museum of Taipei, Taiwan. Amongst them, the most famous and priceless one is the painting made by Painter Huang Gongwang (Huang Kongwang 1269 - 1354) in Yuan Dynasty. Master Zhang Daqian used "Splashed Colour Painting" technique created by himself in this painting to re-define the works of "Landscape Fuchun Mountain". This should have won and played such an important role in the history of Chinese Painting and become priceless!
以 "富春山居圖" 作為繪畫題材, 在歷史上, 一直是中國繪畫名家的最愛. 有些作品不但是無價之寶, 且為台灣台北故宮博物院所收藏. 其中最有名且為無價的作品即是元代黃公望 (1269 - 1354) 所繪製的 "富春山居圖". 張大千大師以其本人所開創之 "潑彩" 畫法, 重新詮釋繪製 "富春山居圖", 精美絕倫, 令人心曠神怡, 應在中國畫壇歷史上有其重要的角色與地位, 故本名畫亦為無價之寶.
++004++
Mountain Emei May Be Crossed On Top
by Zhang Daqian dated 1971. 張大千1971年作“可以橫絕峨嵋巔潑彩山水圖”H 95.5 x W 177.5 cm 橫幅設色紙本鏡片
題識: 可以橫絕峨嵋巔.六十年辛亥四月朔, 蜀郡張大千爰.
六鈐印: 張爰之印, 大千居士, 一切惟心造, 得心應手, 大風堂, 直造古人不到處.
Splashed ink and color on paper, mounted, signed SHUJUN ZHANG DAQIAN YUAN, inscribed and tiled MOUNTAIN EMEI MAY BE CROSSED ON TOP, THE FIRST DAY OF APRIL 1971 YEAR XIN HAI, with 6 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this painting are the same as those 16 words in Sister painting "Mount E'mei and Calligraphy" by Zhang Daqian (dated 1971 H102 x W191 cm, ink and color on paper, painting and calligraphy gift to Zhang Daqian's family chef Zhen Jianmin 1919-1990, Christie's Hong Kong 11/30/2010 Auction Lot. 2526 / Sale 2822 Sold USD 644,000.). Thus it’s “True Authenticity”!
The signature "SHUJUN ZHANG DAQIAN YUAN" of Zhang Daqian in this painting are also the same as those 6 words in "Spring Cloud and Morning Mist" by Zhang Daqian (Dedicated to Mr. Yan Jiagan who had been just retired from his 5th Presidency of ROC and succeeded the Chairman of Governing Association of National Palace Museum, Taipei, Taiwan, dated Nov. 1979 H69 x W176 cm, "Paintings of Zhang Daqian,Volume 2", Page 8 - 9, Picture 2, Museum of History, Taipei, Taiwan Dec. 1980). Thus it’s “True Authenticity”!
The "Refined Splashed and Refined Brushed" painting technique used by Master Zhang Daqian on this renowned painting was created by him at his late splashed painting period. Although some parts were still painted subordinatively with Chinese Traditional painting techniques and styles such as Very Fine and Delicate Drawings, Impressionistic Painting, Outlined Drawing, Colours Applying Painting, Ink Applying Painting. But the brushes had been saved as precious as gold. Most parts of the painting had been done by the "Refined Splashed and Refined Brushed" techniques. This is extremely difficult to have been done so well as this painting. Painter has to control the splashed colour dyeing conditions on paper just as holding a fine brush on hand. He has to splash (brush) it as precisely as his will in mind. Painter also has to understand even the splashed speed and degree of the paper material so used very well. A little mistake happened upon splashed painting is not allowed. He can not just paint it randomly by finishing it roughly. If painter had no such a wonderful splashed ink and coloured painting experience for at least more than decades, he can not do it well. It's so very difficult and impossible for other painters to copy or imitate after it. Otherwise the copy painter or imitater will just waste his papers and expensive colour pigments for sure. The works of art done by this difficult technique were few and also collected fewer in the world. Owing to its both hard time and efforts consuming of this painting technique, the paintings finished by this were often dedicated to the Kuomintang party high ranking founding officials in Taiwan to promote the painting reputation of Master Zhang Daqian and had always been locked into deep cellar of Governmental Residency.
本名畫之題識及簽名 "可以橫絕峨眉巔.六十年辛亥四月朔. 爰" 16 個文字,與佳士得（香港）有限公司 2010 年 11 月 30 日 2010 年秋季拍卖会 Lot.2526∕Sale2822 之張大千 1971 年姐妹作 "橫絕峨嵋巔"( H 102 x W 191 cm 橫幅水墨設色紙本鏡心 張大千贈畫予其家廚陳健民先生 1919-1990 的收藏品 拍賣成交價 USD 644,000 )之題識及簽名16個文字完全相同, 故為真正.
本圖簽名 "蜀郡張大千爰" 6字, 亦與台灣台北歷史博物館1980年12月初版 "張大千書畫集第二集" 第8-9頁圖版2 "春雲曉靄"(H69 x W176 cm 1979年11月作, 贈予剛卸任中華民國第五任總統職務而擔任台北故宮博物院管理委員會主任委員之嚴家淦先生.)之簽名6字完全相同, 故為真正.
此幅名畫為張大千大師開創於晚期的 "細潑細筆式潑彩" 畫法, 雖然有些仍是以中國國畫之 "工筆、寫意、鉤勒、設色、水墨等技法形式" 為輔, 但卻已經 "惜筆如金". 畫紙上的絕大部分作畫內容, 都是以 "潑彩" 畫法細潑細筆以成之. 這種畫法之困難度極高, 因為畫家必須控制 "潑彩渲染度" 就如同手握 "細筆" 一般, 不論是色彩之調合度與筆意, 皆必須是 "意到即筆到(潑到)" 般恰到好處, 絲毫不容許有任何差錯, 連作畫用紙之渲染度亦必須拿捏精準, 完全無法 "既然粗略潑之, 即大概以成之.". 因為此種畫法相當耗時又耗工, 沒有數十年的 "潑墨" 及 "潑彩" 畫功及足夠經驗, 他人根本就是無法臨摹仿潑之, 否則只是糟蹋浪費自己的畫紙與昂貴顏料而已. 因此成品並不多, 見世作品也不多, 因為張大千大師都是以此種畫作成品贈送予國民黨黨國元老們欣賞居多, 而被鎖入深宮.
++005++
A Bird’s-eye View on Taiwan Cross-Island Road near Herhuan
Splendid golden-outline landscape splashed painting by Zhang Daqian dated 1978.
張大千1978年作“台灣橫貫公路合歡山鳥瞰金碧潑彩山水圖”名畫 橫幅設色紙本鏡片 H92 x W170 cm
題識:六十七於摩耶精舍八十叟爰.
三鈐印:張爰私印,大千,大千毫髮.
Splendid golden-outline splashed ink and colour on paper, mounted, signed 80 YEARS OLD MAN YUAN,inscribed 1978 IN MOYEJINGSHE,with 3 seals of the artist.
This painting could be described as one of the most beautiful Chinese Landscape Splashed Paintings you have ever seen in the world!
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
This fine and delicate landscape splashed painting can be done by Zhang Daqian only due to the difficult and essential requirements of at least 30 years of long-term splashed painting experience! Only Master Zhang Daqian met with this strict qualification!
此名畫為張大千大師開創於晚期的 "細潑細筆式金碧潑彩" 畫法, 雖然有些仍是以中國國畫之 "工筆、寫意、鉤勒、設色、水墨等技法形式" 為輔, 但卻已經 "惜筆如金". 畫紙上的絕大部分作畫內容, 都是以 "金碧潑彩" 畫法細潑細筆鉤勒以成之. 這種畫法之困難度極高, 因為畫家必須控制 "潑彩渲染度" 就如同手握 "細筆" 一般, 不論是色彩之調合度與筆意, 皆必須是 "意到即筆到(潑到)" 般恰到好處, 絲毫不容許有任何差錯, 連作畫用紙之渲染度亦必須拿捏精準, 完全無法 "既然粗略潑之, 即大概以成之.". 因為此種畫法相當耗時又耗工, 沒有數十年的 "潑墨" 及 "金碧潑彩" 畫功及足夠經驗, 他人根本就是無法臨摹仿潑之, 否則只是糟蹋浪費自己的畫紙與昂貴顏料而已. 因此成品並不多, 見世作品也不多, 因為張大千大師都是以此種畫作成品贈送予國民黨黨國元老們欣賞居多, 而被鎖入深宮.
++006++
18 Luohan Disciples Appointed to Witness to Buddhist Truth
by Zhang Daqian dated 1936.
張大千1936年作 "十八羅漢圖" 手卷 H44xW240 cm
題識:十八羅漢圖丙子年三月大千居爰.
二鈐印:張爰之印,三千大千.
此手卷為張大千1936年应徐悲鸿之邀請,擔任南京国立中央大学艺术系教授一年時所繪,為典型中國宋元明清工筆人物動物畫法,畫工極為精細奧妙.
Ink and colour on paper, handscroll, signed and inscribed 18 LUOHAN PAINTING YEAR 1936 MAR. DAQIAN JU YUAN, with 2 seals of the artist.
This was painted by Zhang Daqian in 1936 as an art professor of the National Central University in Nanjing invited by Xu Beihong, with the most historical, rare, fine, delicate people & animal drawings’ techniques derived since Song, Yuan, Ming, Qing Dynasties.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
This was done in 1936 (75 years ago). Only Master Zhang Daqian painted with such fadeless colored pigments in fine,delicate people & animal drawings’ techniques.
張大千1936年作 "十八羅漢圖" 手卷名畫係完成於75年前, 而當時只有張大千大師使用百年不褪色之彩色顏料於典型中國宋元明清工筆人物動物畫法,畫工極為精細奧妙.
++007++
The Dreamland of Mountain Qingcheng in Heavenly Place
by Zhang Daqian dated 1981.
張大千1981年作 "夢入靑城天下幽人間仙境圖" H 172.5 x W 92 cm 直幅設色紙本鏡片
題識:八十三叟爰台北外雙溪摩耶精舍.
七鈐印:張爰之印,大千居士,摩耶精舍,一切惟心造,得心應手,直造古人不到處,大風堂.
因本圖題識中之 "爰台北外雙溪摩耶精舍" 10個文字, 與台灣台北歷史博物館1983年1月初版 "張大千書畫集第四集" 第 40 - 41 頁圖版31 "嵩壽圖" (張大千1982年作贈台灣台北聯合報創辦人王惕吾二兄七秩華誕)之題識中10個文字 "完全相同", 故為真正.
Vertical splashed ink and colour on paper, mounted, signed 83 YEARS OLD MAN YUAN, inscribed TAIPEI WAISHUANGXI MOYEJINGSHE, with 7 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this painting are the same as those 10 characters in "The Mountains of Longevity" by Zhang Daqian dated 1982 (Dedication to Mr. Wang Tihwu Brother’s 70th Birthday,Founder of United Daily News Group, H 78 x W 180 cm. Literature: "Paintings of Zhang Daqian, Volume 4", P.40 - 41, Picture 31, by Museum of History, Taipei, Taiwan Jan. 1983.).
此幅名畫為張大千大師開創於晚期的 "細潑細筆式潑彩" 畫法, 雖然有些仍是以中國國畫之 "工筆、寫意、鉤勒、設色、水墨等技法形式" 為輔, 但卻已經 "惜筆如金". 畫紙上的絕大部分作畫內容, 都是以 "潑彩" 畫法細潑細筆以成之. 這種畫法之困難度極高, 因為畫家必須控制 "潑彩渲染度" 就如同手握 "細筆" 一般, 不論是色彩之調合度與筆意, 皆必須是 "意到即筆到(潑到)" 般恰到好處, 絲毫不容許有任何差錯, 連作畫用紙之渲染度亦必須拿捏精準, 完全無法 "既然粗略潑之, 即大概以成之.". 因為此種畫法相當耗時又耗工, 沒有數十年的 "潑墨" 及 "潑彩" 畫功及足夠經驗, 他人根本就是無法臨摹仿潑之, 否則只是糟蹋浪費自己的畫紙與昂貴顏料而已. 因此成品並不多, 見世作品也不多, 因為張大千大師都是以此種畫作成品贈送予國民黨黨國元老們欣賞居多, 而被鎖入深宮.
++008++
The Heavenly Place in Mankind World
by Zhang Daqian dated 1982.
張大千1982年作"人家在仙堂潑彩山水圖"H177xW94cm直幅設色紙本鏡片
題識:人家在仙掌,雲氣欲生衣.此右丞逸詩也.八十四叟爰.
八鈐印:張爰之印,大千居士,大風堂,摩耶精舍,一切惟心造,長共天難老,得心應手,直造古人不到處.
Splashed ink and colour on paper,mounted,signed 84 YEARS OLD MAN YUAN,inscribed PEOPLE LIVE IN THE HEAVENLY PLACE,THE HEAVY CLOUD IS TO BECOME THEIR CLOTHES.THIS IS THE POEM WRITTEN BY WANG WEI,with 8 seals of the artist.
The sister painting "Hermit" dated 1966 H193xW101cm was sold USD1,685,900 in Beijing Poly 6/3/2010 Lot.2676;sold USD5,558,400 in Beijing Googut 6/3/2011 Lot.60.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this are the same as those 21 words in "Houses on a Mountain" by Zhang Daqian dated 1982 H70xW33.8cm,sold USD282,700 Christie’s Hong Kong 2011 Spring Auction Lot.2627 5/31/2011,"Paintings of Zhang Daqian,Vol.5",P101,Pic.59,Museum of History,Taipei,Taiwan 1983.
本名畫之題識中 "人家在仙掌,雲氣欲生衣.此右丞逸詩也.八十四叟爰." 21個文字,與台灣台北歷史博物館1983年10月初版 "張大千書畫集第五集" 第101頁圖版59 "仙掌人家"(H70 x W33.8 cm 1982年作) 之題識21文字 "完全相同". "仙掌人家 Houses on a Mountain" 圖於2011年5月31日在佳士得香港有限公司2011年春拍 Lot.2627 售出 USD 282,700元. 而此21個文字, 於兩幅畫中筆跡完全相同, 確係皆為張大千本人之親筆書寫筆跡無誤. 且此兩幅名畫之題識簽名內容, 不論是字與字的連貫, 行與行的呼應, 或是張大千本人之信筆落款畫紙, 隨手寫來, 間中停筆, 偶因墨枯再醮墨, 墨色停頓起始, 黑灰濃枯, 筆墨乾濕濃淡, 皆有所變化, 然看起來卻是如前後一氣呵成, 並非臨摹之仿筆, 足以證明, 此兩幅名畫皆為張大千本人的真跡原作.
此幅名畫為張大千大師開創於晚期的 "細潑細筆式潑彩" 畫法, 雖然有些仍是以中國國畫之 "工筆、寫意、鉤勒、設色、水墨等技法形式" 為輔, 但卻已經 "惜筆如金". 畫紙上的絕大部分作畫內容, 都是以 "潑彩" 畫法細潑細筆以成之. 這種畫法之困難度極高, 因為畫家必須控制 "潑彩渲染度" 就如同手握 "細筆" 一般, 不論是色彩之調合度與筆意, 皆必須是 "意到即筆到(潑到)" 般恰到好處, 絲毫不容許有任何差錯, 連作畫用紙之渲染度亦必須拿捏精準, 完全無法 "既然粗略潑之, 即大概以成之.". 因為此種畫法相當耗時又耗工, 沒有數十年的 "潑墨" 及 "潑彩" 畫功及足夠經驗, 他人根本就是無法臨摹仿潑之, 否則只是糟蹋浪費自己的畫紙與昂貴顏料而已. 因此成品並不多, 見世作品也不多, 因為張大千大師都是以此種畫作成品贈送予國民黨黨國元老們欣賞居多, 而被鎖入深宮.
此幅名畫之另一幅姐妹作品張大千1966年作 "山居圖 Hermit Landscape" (H193 x W101 cm 鏡心直幅設色紙本 著錄: 1967年香港東方學會出版 "張大千畫集" 第128頁圖, 拍賣紀錄為: (1) 2010-06-03 北京保利國際拍賣有限公司2011年的5周年春季春賣會 "中國近現代、當代書畫夜場及北堂舊藏齊白石篆刻稀珍(二)" Lot. 2676 拍賣成交價: USD 1,685,900 元. (2) 2011-06-03 北京歌德拍賣有限公司2011年春季藝術品拍賣會 "藝海求真 - 中國近現代書畫專場" Lot. 0060 拍賣成交價: USD 5,558,400 元.
++009++
Sun is Rising and Darkness is Fallen allover the Mountain
with Calligraphy by Zhang Daqian dated 1979.
張大千1979年作"天開影墮潑彩山水圖及書法對聯" 畫 H96xW175cm 橫幅設色紙本鏡片 書法 H133xW35cm x 2 紙本立軸七言對聯
Splashed ink and colour on paper,mounted,signed 81 YEARS OLD MAN YUAN,inscribed SUN IS RISING AND DARKNESS IS FALLEN INTO THE SEA,MOUNTAIN CLIFF IS COVERED BY HEAVY FOG OF LAST NIGHT,THE SAILBOATS ON RIVER ARE COMING DOWNWARD AND GOING UPWARD,SAILORS ARE SKILLFUL TO RIDE BOATS OVER WAVES STABLY AGAINST THE WIND FROM EVERY DIRECTION,with 6 seals of the artist.
Calligraphy:Ink on paper,pair of mounted hanging scrolls,7-Character Couplet,signed and inscribed,with 5 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this are the same as those 33 words in "Landscape"by Zhang Daqian(dated 1979 H46xW76cm "Paintings of Zhang Daqian,Vol.1",P.104-105,Pic.69,Museum of History,Taipei,Taiwan Jan.1980).
Calligraphy: Ink on paper, pair of mounted hanging scrolls, Seven-Character Couplet, (first couplet) titled WHEN FIREWOODCUTTER CAME OUT OF THE MOUNTAIN, IT WAS RAINING, inscribed WRITTEN IN LUNAR DEC. 1979 AT MOYEJINGSHE. (second couplet) titled FISHING BOATS WERE BLOWN AWAY BY THE WIND OVER THE WATER, inscribed 81 YEARS OLD MAN YUAN, with 5 seals of the artist, 2 in the first and 3 in the second couplet.
The Seven-Character poem written in the couplet was created by poet Liu Wei in Tang Dynasty China.
張大千1979年作"天開影墮潑彩山水圖及書法對聯" 畫(Painting) H96 x W175 cm 橫幅設色紙本鏡片 書法對聯(Seven-Character Calligraphy Couplet) H133 x W35 cm x 2 幅 紙本立軸七言對聯
題識:天開影墮滄波裏,峰峭深霾宿霧中,來去江帆憑下上,舟人穩使八方風.八十一叟爰.
六鈐印:張爰之印,大千居士,摩耶精舍,得心應手,直造古人不到處,大風堂.
書法對聯題識: (上聯) 樵客出來山帶雨 六十八年嘉平月摩耶精舍書 (下聯) 漁舟過來水生風 八十一叟爰. 五鈐印: (上聯) 春長好, 長共天難老. (下聯) 摩耶精舍, 西川張爰, 金石同壽.
(上聯) 樵客出來山帶雨, (下聯) 漁舟過來水生風, 為中國唐朝詩人劉威的七言詩詞.
本名畫中題識 "天開影墮滄波裏,峰峭深霾宿霧中,來去江帆憑下上,舟人穩使八方風.八十一叟爰." 33個文字含簽名 "爰" 字,與台灣台北歷史博物館1980年1月初版 "張大千書畫集第一集" 第104-105頁圖版69 "天開影墮山水圖" (H 46 x W 76 cm 張大千1979年作) 題識內容中的33個文字含簽名 "爰" 字為完全相同. 而此33個文字, 於兩幅畫中筆跡完全相同, 確係皆為張大千本人之親筆書寫筆跡無誤. 且此兩幅名畫之題識簽名內容, 不論是字與字的連貫, 行與行的呼應, 或是張大千本人之信筆落款畫紙, 隨手寫來, 間中停筆, 偶因墨枯再醮墨, 墨色停頓起始, 黑灰濃枯, 筆墨乾濕濃淡, 皆有所變化, 然看起來卻是如前後一氣呵成, 並非臨摹之仿筆, 足以證明, 此兩幅名畫皆為張大千本人的真跡原作.
++010++
Painting the Elder Bintourlu after Technique of Song Dynasty
by Zhang Daqian dated 1946.
張大千1946年作“倣宋人畫賓頭盧尊者像”名畫 H 92 x W 171 cm 橫幅設色紙本鏡片
題識:倣宋人畫賓頭盧尊者像 丙戌嘉平月 大千張爰.
五鈐印:張爰私印,三千大千,老棄敦煌,除一切苦,大風堂.
此名畫為張大千仿宋人畫敦煌石窟藝術作品, 足可作為美術館的鎮館之寶.
Ink and colour on paper, mounted, signed Dec.1946 DAQIAN ZHANG YUAN, inscribed and titled PAINTING THE ELDER BINTOURLU AFTER TECHNIQUE OF SONG DYNASTY, with 5 seals of the artist.
This was inspired by Zhang Daqian’s early study in the art of the Dunhuang Caves.This fine painting can be the most important and renowned art collection of a museum.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
This work of art was inspired by Zhang Daqian’s early study in the art of the Dunhuang Caves, but had been altered by Master Zhang Daqian with painting technique after Song Dynasty. Only Master Zhang Daqian could have created this one without arguments.
++011++
Listening to the Springs below the Mountains
Splendid golden-outline splashed color landscape handscroll painted,preface self-inscribed, by Zhang Daqian dated 1980.
Splendid golden-outline splashed ink & color on paper,handscroll,signed 1980 SUMMER DAY DAQIAN ZHANG YUAN,inscribed LISTENING TO THE SPRINGS BELOW THE MOUNTAINS,VISITING OLD FRIEND TO THE SOURCE OF PINE TREES,ARRIVING NOWHERE IN THE DEEP MOUNTAINS,HAVING AN APE HANGING ON TOP BRANCHES OF A TREE,with 3 seals of the artist.Preface signed SHUREN ZHANG YUAN,self-inscribed LANDSCAPE CREATES WIND,with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
The handwritings of Zhang Daqian in this are the same as those 20 words in "Listening to the springs below the mountains" by Zhang Daqian(1975 H49xW110cm "Select Paintings of Zhang Daqian" P.100,by Museum of History,Taipei,Taiwan May.1976.).It’s also self-inscribed "Authenticity" by the artist!
"Listening to the Springs below the Mountains" Splendid golden-outline splashed ink and color landscape handscroll painting painted and preface self-inscribed by Zhang Daqian dated 1980. Size: Painting H68 x W354.5cm, Preface H50 x W83cm.
張大千1980年作 “山水生風聽泉入山麓金碧潑彩山水圖” 手卷.
題識:聽泉入山麓,訪舊到松源,蹤跡無知處,高枝一掛猿.六十九年夏日大千張爰. 三鈐印:張爰之印,三千大千,摩耶精舍. 引首:山水生風 蜀人張爰. 二鈐印:蜀郡張爰,大風堂.
本件手卷名畫之題識 "聽泉入山麓,訪舊到松源,蹤跡無知處,高枝一掛猿." 20個文字,與台灣台北歷史博物館1976年5月初版 "張大千作品選集" 第100頁圖版 "聽泉入山麓"(H49 x W110 cm 1975年作)之題識20個文字完全相同,又為張大千大師本人所自題引首,故為真正.
++012++
Waterfall in a Quiet Mountain Valley with Calligraphy
by Zhang Daqian dated 1980.
張大千1980年作 "幽谷飛瀑潑彩山水圖及書法對聯"
Vertical splashed ink and color on paper,mounted,signed YUANWENG,inscribed PAINTED IN DAFENGTANG, with 2 seals of the artist.
Calligraphy: Ink on paper, pair of mounted hanging scrolls, (first couplet) titled AWAY FROM THE BEAUTIFUL COUNTRY HOME THOUSANDS MILES, inscribed and dedicated DEDICATION TO FELLOW-BROTHER WANG XIN HENG FOR INSTRUCTIONAL APPRECIATION. (second couplet) titled THE FAME AND OFFICIAL POWERS ARE MATTERS OF INSIGNIFICANCE, SO NOTHING IS MORE IMPORTANT THAN ENJOYING A DELICIOUS MEAL. inscribed 1980 LUNAR DEC. DAQIAN ZHANG YUAN.
The sister painting with the same content and artist "Waterfall in a Quiet Mountain Valley" (dated 1967, H94 x W43 cm, ink and colour on paper, Framed) was on auction by Christie’s Hong Kong on 1990-10-07 and 1994-05-01 Lot.319 sold USD 49,200.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Size: Painting H133 x W68cm, Calligraphy (pair of mounted hanging scrolls) each calligraphy on scroll H138.5 x W33cm.
Authenticity:
The handwritings and signature of Zhang Daqian in this are the same as those 3 words in "Fuchun Mountain" by Zhang Daqian(dated 1980 H69xW140cm, "Paintings of Zhang Daqian,Vol.3",P.50-51,Pic.37,Museum of History,Taipei,Taiwan Feb.1982.).
張大千1980年作 "幽谷飛瀑潑彩山水圖及書法對聯" 名畫 H133 x W68cm 直幅設色紙本鏡片 書法對聯紙本立軸 每幅 H138.5 x W33cm
題識: 大風堂作 爰翁. 二鈐印: 張爰之印,大千居士.
書法對聯題識:
(上聯) 珠箔雕闌幾千里 新衡仁兄法家正之
(下聯) 功名餘事且加餐 庚申嘉平月大千張爰.
五鈐印: (上聯) 摩耶精舍, 以介眉壽, 長共天難老. (下聯) 西川張爰, 金石同壽.
本名畫之題識及簽名 "風,爰翁" 3個文字,與台灣台北歷史博物館1982年2月初版 "張大千書畫集第三集" 第50-51頁圖版37 "富春山圖" (H69 x W140 cm 1980年12月作)題識及簽名中之3個文字完全相同,故為真正.
與本名畫內容相同之另一幅姐妹作 "幽谷飛泉(秋山飛瀑)圖 Waterfall in a Quiet Mountain Valley" (張大千1967年作, H94 x W43 cm, 鏡框, 設色紙本) 曾於佳士得香港有限公司 1990年10月7日 及 1994年5月1日 Lot.319 拍賣中售出 USD 49,200 元.
(上聯) "珠箔雕闌幾千里" 係北宋詩人賀鑄（1052-1125）作 "小梅花" 中詩詞.
(下聯) "功名餘事且加餐" 為南宋著名愛國詩人辛棄疾（1140-1207）作 "鷓鴣天 送人" 中詩詞.
(上聯) 上款人"王新衡將軍" (1908 - 1987) 為中華民國國民政府主席兼國民政府軍事委員會委員長蔣中正主席兼委員長親轄 "軍統局" 之香港特別區少將區長. 為張大千的好朋友, 曾與 "張大千, 張群, 張學良" 三人共稱為 "台北三張一王家庭轉轉聚餐會好友" . 張大千所親自指定之遺囑執行人及張大千死後之書畫遺世作品分配人,保管人,與台北故宮博物院捐贈人.
(First couplet) titled "AWAY FROM THE BEAUTIFUL COUNTRY HOME THOUSANDS MILES" is a poem from the poetry "A Little Plum Blossom" by Poet He Zhu（1052-1125）in North Song Dynasty.
(Second couplet) titled "THE FAME AND OFFICIAL POWERS ARE MATTERS OF INSIGNIFICANCE, SO NOTHING IS MORE IMPORTANT THAN ENJOYING A DELICIOUS MEAL." is a poem from the poetry "A Partridge Singing Day - Seeing Friend Off" by renowned patriotic Poet Xin Qiji（1140-1207）in South Song Dynasty.
(First couplet) The recipient "General WANG XIN HENG" (1908 - 1987) was the Major General, District Commander of Hong Kong District, of "Bureau of Military Secret Service" commanded by Chairman and Generalissimo Chiang Kaishek of the Government and the Military Council., also close friend of Zhang Daqian. General WANG XIN HENG together with Zhang Daqian, Zhang Qun, Zhang Xueliang were called "Three Zhangs and One Wang Family Meal Meeting Fellowship Group in Taipei, Taiwan.". Zhang Daqian personally nominated General WANG XIN HENG as the executor of his will and instructions after decease, also as the distributor, trustee, representing donator (Executing Donations of Works of Art left behind to the National Palace Museum,Taipei,Taiwan.) of the works of art left behind by Zhang Daqian after his decease.
++013++
Recalling the Beautiful Scenery of Mountain Huang in China
by Zhang Daqian dated 1979.
張大千1979年作 "遙思黃山故景潑彩山水圖" H 92 x W 172 cm 橫幅設色紙本鏡片
題識:木葉含風靜,千山尚綠肥,微暉弄晴晚,猶暖舊林扉.
六十八年已秋摩耶精舍寫八十一叟爰.
四鈐印:張爰,大千居士,摩耶精舍,大千豪髮.
Splashed ink and colour on paper, mounted, signed 1979 AUTUMN WRITTEN IN MOYEJINGSHE 81 YEARS OLD MAN YUAN, inscribed THE MAPLE LEAVES ARE STILL IN WIND, THE MOUNTAINS ARE STILL SO GREEN, IT'S SHINY ALL DAY TILL LATE, IT'S STILL SO WARM IN THE OLD FOREST, with 4 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this painting are the same as those 33 characters written in "Mountain Village" by Zhang Daqian dated 1978 (H 89 x W 44 cm, ink and colour on paper. Literature: "Paintings of Zhang Daqian, Volume 1", P.130, Picture 90, by Museum of History, Taipei, Taiwan Jan. 1980.). Thus it's “True Authenticity”!
此圖之題識內容: "木葉含風靜,千山尚綠肥,微暉弄晴晚,猶暖舊林扉." 20個文字, 及簽名 "六十,年,秋,摩耶精舍寫,八十,叟爰." 13個文字, 亦同樣出現在張大千1978年作 "山居圖" 名畫中 (H89 x W44 cm 直幅設色紙本 著錄為 "张大千書画集第一集" 台灣台北历史博物馆於1980年1月初版, 第130页, 图版90.). 而此33個文字, 兩者筆跡完全相同, 確係皆為張大千本人之親筆書寫筆跡無誤. 且此兩幅名畫之題識簽名內容, 不論是字與字的連貫, 行與行的呼應, 或是張大千本人之信筆落款畫紙, 隨手寫來, 間中停筆, 偶因墨枯再醮墨, 墨色停頓起始, 黑灰濃枯, 筆墨乾濕濃淡, 皆有所變化, 然看起來卻是如前後一氣呵成, 並非臨摹之仿筆, 足以證明, 此兩幅名畫皆為張大千本人的真跡原作. 而本圖張大千之三個鈐印 "張爰,大千居士,摩耶精舍." 印文上, 更有張大千本人所說的 "硃砂本質重, 裝在缸內, 一天不攪, 油就四面溢出." 的 "走油" 痕跡, 更足以證明本圖確為張大千本人的真跡原作品.
++014++
Splashed Colour Landscape of Beautiful Mountain Qingcheng
by Zhang Daqian dated 1973. 張大千1973年作 "青城天下幽潑彩山水圖" H 91.5 x W 165 cm 橫幅設色紙本鏡片
題識: 青城天下幽, 大千居士爰, 中華民國六十二年六月二十三日.
六鈐印: 張爰之印, 大千居士, 以介眉壽, 得心應手, 大風堂, 直造古人不到處.
Splashed ink and color on paper, mounted, signed DAQIAN JUSHI YUAN, inscribed and tiled LANDSCAPE OF WORLD MOST BEAUTIFUL MOUNTAIN QINGCHENG, JUNE 23RD 1973, 62ND YEAR OF REPUBLIC OF CHINA, with 6 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian (DAQIAN JUSHI YUAN) in this painting are the same as those 5 characters written in the cover painting of "Paintings of Zhang Daqian" published by Hong Kong Oriental Scholars Association, 1st Edition, in Jan. 1967. Thus it's “True Authenticity”!
The title handwritings "LANDSCAPE OF WORLD MOST BEAUTIFUL MOUNTAIN QINGCHENG" of Zhang Daqian in this painting are the same as those 5 words written on the right side of the frame by Zhang Daqian in Sister painting "Landscape in Sichuan (also named City in the Mountain)" by Zhang Daqian (dated 1950, H 51 x W 43.5 cm, ink and color on paper, framed, Christie's Hong Kong 5/26/2008 Auction Lot. 886 Sold USD 57,690, Beijing Council International Auctions Beijing 12/6/2010 Auction Lot. 1123 Sold USD 405,270.). Thus it’s “True Authenticity”!
The "Refined Splashed and Refined Brushed" painting technique used by Master Zhang Daqian on this renowned painting was created by him at his late splashed painting period. Although some parts were still painted subordinatively with Chinese Traditional painting techniques and styles such as Very Fine and Delicate Drawings, Impressionistic Painting, Outlined Drawing, Colours Applying Painting, Ink Applying Painting. But the brushes had been saved as precious as gold. Most parts of the painting had been done by the "Refined Splashed and Refined Brushed" techniques. This is extremely difficult to have been done so well as this painting. Painter has to control the splashed colour dyeing conditions on paper just as holding a fine brush on hand. He has to splash (brush) it as precisely as his will in mind. Painter also has to understand even the splashed speed and degree of the paper material so used very well. A little mistake happened upon splashed painting is not allowed. He can not just paint it randomly by finishing it roughly. If painter had no such a wonderful splashed ink and coloured painting experience for at least more than decades, he can not do it well. It's so very difficult and impossible for other painters to copy or imitate after it. Otherwise the copy painter or imitater will just waste his papers and expensive colour pigments for sure. The works of art done by this difficult technique were few and also collected fewer in the world. Owing to its both hard time and efforts consuming of this painting technique, the paintings finished by this were often dedicated to the Kuomintang party high ranking founding officials in Taiwan to promote the painting reputation of Master Zhang Daqian and had always been locked into deep cellar of Governmental Residency.
此圖上之張大千簽名 (大千居士爰) 五個文字與香港東方學會1967年1月初版之 "張大千畫集" 封面圖上之張大千簽名 (大千居士爰) 完全相同, 故為真正.
本名畫之標題題識 "青城天下幽" 5 個文字,與張大千 1950 年姐妹作 "青城天下幽"( H 51 x W 43.5 cm 直幅設色紙本鏡心 佳士得（香港）有限公司 2008 年 5 月 26 日 2008年春季拍卖会 Lot.886 拍賣成交價 USD 57,690, 北京匡时2010年秋季五周年拍卖会 渡海三家 - 张大千, 溥儒, 黄君璧书画专场 Lot.1123 拍賣成交價 USD 405,270 ) 之画家張大千自题框上裱边 "青城天下幽" 的題識 5 個文字完全相同, 故為真正.
此幅名畫為張大千大師開創於晚期的 "細潑細筆式潑彩" 畫法, 雖然有些仍是以中國國畫之 "工筆、寫意、鉤勒、設色、水墨等技法形式" 為輔, 但卻已經 "惜筆如金". 畫紙上的絕大部分作畫內容, 都是以 "潑彩" 畫法細潑細筆以成之. 這種畫法之困難度極高, 因為畫家必須控制 "潑彩渲染度" 就如同手握 "細筆" 一般, 不論是色彩之調合度與筆意, 皆必須是 "意到即筆到(潑到)" 般恰到好處, 絲毫不容許有任何差錯, 連作畫用紙之渲染度亦必須拿捏精準, 完全無法 "既然粗略潑之, 即大概以成之.". 因為此種畫法相當耗時又耗工, 沒有數十年的 "潑墨" 及 "潑彩" 畫功及足夠經驗, 他人根本就是無法臨摹仿潑之, 否則只是糟蹋浪費自己的畫紙與昂貴顏料而已. 因此成品並不多, 見世作品也不多, 因為張大千大師都是以此種畫作成品贈送予國民黨黨國元老們欣賞居多, 而被鎖入深宮.
++015++
Golden Outline Red Lotus and a Flying Bird
by Zhang Daqian dated 1978.
張大千1978年作 "香清鈎金紅荷翔鳥圖" 橫幅設色紙本鏡片 H93 x W177 cm
題識: 香清 六十七於摩耶精舍 大千居士爰.
三鈐印: 張爰私印,大千,三千.
Horizontal ink and colour on paper, mounted, signed 1978 IN MOYEJINGSHE DAQIAN JUSHI YUAN, inscribed and titled FLAVOUROUS LOTUS AND CLEAR WATER, with 3 seals of the artist.
This painting is so unique that people can hardly find another painting amongst those so many "Lotus" paintings by Zhang Daqian with a moving "Wings-Flying Bird" watching the still "Red Lotus".
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings "香清" 2 words and signature "大千, 爰" 3 words of Zhang Daqian in this painting are the same as those 5 words in the preface, inscribed by Zhang Daqian, of the handscroll painting "The Lotus, Fish, Frogs, Shrimps, and Crabs" (Painting H67 x W259.5 cm, Preface H44 x W59 cm) by Qi Baishi dated 1949, thus it’s “True Authenticity”!
This painting is so unique that people can hardly find another painting amongst those so many "Lotus" paintings by Zhang Daqian with a moving "Wings-Flying Bird" watching the still "Red Lotus". It's painted so real that this painting can exactly prove the extreme excellence of Zhang Daqian's painting skill.
此名畫是張大千一生所繪無數荷花圖中罕見加繪 "翔鳥賞荷" 者名畫. 動態展翅飛翔中的小鳥正在觀賞靜態的紅荷花. 形態逼真, 畫工可說是絕妙一流!
因此名畫之題識 "香清" 二字, 與張大千之簽名 "大千, 爰" 三字, 與張大千本人題於齊白石1949年作 "香清荷花魚蛙蝦蟹圖" 手卷 (畫心 H67 x W259.5 cm, 引首 H44 x W59 cm) 之引首上文字及簽名完全相同, 故為真正.
++016++
One Flower in One World White Lotus and attached calligraphy
by Zhang Daqian dated Mar.1978.
張大千1978年3月作 "一花一世界白荷花圖及書法立軸" 橫幅設色紙本鏡片
Ink on paper, mounted,signed SHU JUN JIN SHI NAN ZHANG DAQIAN YUAN,inscribed and titled ONE FLOWER IN ONE WORLD AND THREE COMPREHENSIONS OUT OF THREE INSIGNIFICANCIES,MAR.1978,dedicated BUDDHIST MASTER XING YUN AS WITNESS,with 5 seals of the artist.
Calligraphy: ink on paper, mounted,hanging scroll, signed SHU JUN JIN SHI NAN ZHANG DAQIAN YUAN, inscribed and titled AMAZING TALENT AND EXTREME BEAUTY, dedicated BUDDHIST MASTER XING YUN AS WITNESS, with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
The handwritings and signatures of Zhang Daqian in this combination are the same as those 29 words in her sister painting(H94xW212.5cm,Feb.2,1978,sold twice USD3.86millions in total by Buddist Master Xing Yun in Feb.27,1994 at the Auction for Fund of Buddhist University.)by Zhang Daqian.
Painting: H89 x W173 cm, Calligraphy: H96 x W47.5 cm.
This dedication of painting by Zhang Daqian to Buddhist Master Xing Yun in Mar.1978 was also recorded in Buddhist Master Xing Yun's personal Diary,the Buddhist Textbook Lesson 20,Volume 11"The Memorabile of Buddhist Mt.Fo Guang"of Buddhist University,and the"The Memorabile of Founder Master Xing Yun of Buddhist Mt.Fo Guang".
The sale revenue of this bid will be distrbuted by seller as 25% donated to Buddhist University, 25% to Buddhist Art Museum, both founded by Buddist Master Xing Yun, and 50% to fund of a private Museum to be set up by seller.
張大千1978年3月作 "一花一世界白荷花圖及書法立軸"
題識:一花一世界,三藐三菩提.六十七年三月,星雲大德印正. 蜀郡近事男張大千爰.
五鈐印:西川張爰,金石同壽,摩耶精舍,大風堂,得心應手.
書法題識:驚才絕豔,星雲大德印正. 蜀郡近事男張大千爰.
二鈐印:西川張爰,金石同壽.
佛光山開山宗長星雲大師於其所著的"星雲日記 命運的主人"一書中,記載1994年2月27日星期日下午,為舉行籌募佛光大學創校經費的"當代名家藝術精品"義賣會上,會場中最高潮乃是在拍賣張大千先生的"一花一世界"水墨畫(H94 x W212.5 cm 橫幅水墨設色紙本張大千1978年戊午年2月初2日作),這幅畫是民國67年(1978年)3月張大千先生親自送到佛光山來給我們.拍賣時以500萬元起價,經過一番競標,最後由一位蕭姓信徒以6,000萬元得標,但又捐出來給佛光大學;再由遠東集團創辦人徐有庠先生以5,600萬元得標,使得這一幅畫以11,600萬元的高價結了善緣.
因此,佛光大學佛光教科書第11冊"佛光學"之第20課"佛光山大事記",便記載著"佛光山創建緣起摘要"如下:1978年佛光12年3月,張大千先生暨夫人來山禮佛,並贈親繪巨畫"一花一世界".
故"佛光山開山宗長星雲大師大事記"也相對記載著:1978年,星雲大師52歲,國寶級畫家張大千暨夫人來山禮佛,並贈親繪巨畫"一花一世界".
基於前緣,此幅張大千1978年3月作"一花一世界白荷花圖及書法立軸"之出售收入,除了50％是作為在臺灣成立中國書畫及古文物民間博物館的經費外,其餘25％將捐給星雲大師創辦之佛光大學,另外25％亦將捐給星雲大師創辦之佛光山佛光緣美術館.
此幅名畫(H89 x W173 cm),與上述拍賣之張大千1978年戊午年2月初2日作"一花一世界"水墨畫(H94 x W212.5 cm),為張大千於同時間內的姐妹作.兩幅名畫題識中之"一花一世界,三藐三菩提.六十七年,星雲大德印正,蜀郡近事男張大千爰."等29個文字,完全相同,確為張大千本人之親筆書寫筆跡無誤.
++017++
Lady with a Fan, Bamboos, Parrot Hairpin, in Tang’s Clothes
by Zhang Daqian dated 1980.
張大千1980年作"仿莫高窟初唐人衣飾鸚鵡簪髮飾新篁紈扇仕女圖"設色紙本立軸H126xW60.5cm
題識:六十九年夏日大千張爰.
二鈐印:張爰之印,爰皤.
Ink and colour on paper,hanging scroll,signed and inscribed 1980 SUMMER DAY DAQIAN ZHANG YUAN,with 2 seals of the artist.
This painting was derived from the following made during 1949-1954 by Zhang Daqian:
(1)"Lady with a Fan" sold USD 2,587,500 by China Guardian on 2011-05-23 Lot.1316.
(2)"Lady with a Fan" sold USD 1,003,079 by Sotheby’s Hong Kong on 2011-04-05 Lot.1197.
(3)"Lady and Bamboo" Literature:"Paintings of Zhang Daqian, Volume 6",P.49,picture 18,Museum of History,Taipei,Taiwan Jul.1985.
(4)"Lady Holding Lotus" sold USD 1,540,799 by Christie’s Hong Kong on 2010-05-28 Lot.921.
This was inspired by Zhang Daqian’s early study in the art of the Dunhuang Caves.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品)who received from the artist directly!
Authenticity:
The lines of drawing are Zhang Daqian’s.
此圖乃是下列四圖: (1) 張大千1949年作 "紈扇仕女圖" (H115.5 x W47.2 cm 直幅設色紙本鏡心 中國嘉德國際拍賣有限公司 2011-05-23 四君子專場 Lot.1316 拍賣成交價 USD 2,587,500元), (2) 張大千1950年作 "執扇閑情圖 Lady with a Fan" (H111.8 x W48 cm 直幅設色紙本鏡框 香港蘇富比有限公司 2011-04-05 中國書畫專場 Lot.1197 拍賣成交價 USD 1,003,079 元), (3) 張大千1952年作 "新篁仕女圖" (H85 x W33 cm 直幅設色紙本 著錄為 "张大千書画集第六集", 台灣台北历史博物馆於1985年7月初版, 第49页, 图版18.), (4) 張大千1954年作 "拈花仕女圖 Lady Holding Lotus" (H112 x W44 cm 直幅設色紙本鏡框 佳士得香港有限公司 2010-05-28 中國近現代畫專場 Lot.921 拍賣成交價 USD 1,540,799元.) 之綜合題材, 張大千的作畫線條皆是相同, 由敦煌石窟藝術所啟發, 故為真正.
++018++
Beauty in Red Hair-kerchief,Wooden Shoes,White Robe, Bamboos
by Zhang Daqian dated 1980.
張大千1980年作 "脩竹紅髮巾木屐白袍裸肩日本美女圖"H125.5xW60.5cm 紙本立軸
題識:六十九年夏日大千張爰.
二鈐印:張爰之印,三千大千.
此圖乃 "水月觀音" 的衣紋白描畫法.
Ink and color on paper,hanging scroll,signed DAQIAN ZHANG YUAN,inscribed 1980 SUMMER DAY,with 2 seals of the artist.
This was inspired by Zhang Daqian’s study in Japan after the technique of white-drawing outlines of clothes on Shuiyue-Guanyin(Goddess of Mercy).This white-drawing was very popular in Song,Yuan Dynasties China.But the related collections were mostly reserved in Japan.Zhang Daqian studied at Kyoto,Japan with 2nd elder brother Zhang Shanzi from 1917 to 1919.Since then he ever went to Japan for several times.He had learned this skillfully!
It's a Japanese beauty in red hair-kerchief,wooden shoes,white robe,naked shoulder,by bamboos.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
The lines of white-drawing are Zhang Daqian’s.
圖中日本美女係中國宋元時期所流行畫”水月觀音”的衣紋白描畫法,這類藏品以在日本居多.張大千於1917-1919年与二哥張善孖共同留学日本京都,之後又曾數度前往日本,必然精通此衣紋白描畫法.
++019++
Han Changli Composed a Lyric Poem Derived from Chu Dynasty
by Zhang Daqian dated 1979.
張大千1979年作 "韓昌黎作楚語圖" 立軸 H118.5 x W60cm
題識:韓昌黎作楚語 六十八年嘉平月 八十一叟爰.
二鈐印:張爰之印,三千大千.
韓昌黎為唐朝韓愈.張大千採用典型中國宋元明清工筆人物畫法,畫工極為精細奧妙.
Ink and colour on paper, hanging scroll, signed 1979 DEC. 81 YEARS OLD MAN YUAN, inscribed and titled HAN CHANGLI COMPOSED A LYRIC POEM DERIVED FROM CHU DYNASTY, with 2 seals of the artist.
Han Changli was a famous poet in Tang Dynasty.The lyric poems composed by him were derived from Chu Dynasty. Master Zhang Daqian,Xu Beihong,and Fu Baoshi preferred to paint those poetic contents derived from Chu and Tang Dynasties into their paintings to instruct people for better thoughts.
This was painted by Zhang Daqian with the most typical fine,delicate people drawings’ technique derived since Song, Yuan, Ming, Qing Dynasties in China.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
The lines of drawing are Zhang Daqian’s.
++020++
Scholars Appreciating Maples
by Zhang Daqian dated 1979.
張大千1979年作 "高仕賞楓圖" 設色紙本立軸 H128.5 x W60.5 cm
題識:木葉含風靜,千山尚綠肥,微暉弄晴晚,猶暖舊林扉.
六十八年已秋摩耶精舍寫八十一叟爰.
三鈐印:張爰私印,大千,摩耶精舍.
Ink and colour on paper, hanging scroll, signed 1979 AUTUMN WRITTEN IN MOYEJINGSHE 81 YEARS OLD MAN YUAN, inscribed THE MAPLE LEAVES ARE STILL IN WIND, THE MOUNTAINS ARE STILL SO GREEN, IT'S SHINY ALL DAY TILL LATE, IT'S STILL SO WARM IN THE OLD FOREST, with 3 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this painting are the same as those 33 characters written in "Mountain Village" by Zhang Daqian dated 1978 (H 89 x W 44 cm, ink and colour on paper. Literature: "Paintings of Zhang Daqian, Volume 1", P.130, Picture 90, by Museum of History, Taipei, Taiwan Jan. 1980.). Thus it's “True Authenticity”!
此圖之題識內容: "木葉含風靜,千山尚綠肥,微暉弄晴晚,猶暖舊林扉." 20個文字, 及簽名 "六十,年,秋,摩耶精舍寫,八十,叟爰." 13個文字, 亦同樣出現在張大千1978年作 "山居圖" 名畫中 (H 89 x W 44 cm 直幅設色紙本 著錄為 "张大千書画集第一集" 台灣台北历史博物馆於1980年1月初版, 第130页, 图版90.). 而此33個文字, 兩者筆跡完全相同, 確係皆為張大千本人之親筆書寫筆跡無誤. 且此兩幅名畫之題識簽名內容, 不論是字與字的連貫, 行與行的呼應, 或是張大千本人之信筆落款畫紙, 隨手寫來, 間中停筆, 偶因墨枯再醮墨, 墨色停頓起始, 黑灰濃枯, 筆墨乾濕濃淡, 皆有所變化, 然看起來卻是如前後一氣呵成, 並非臨摹之仿筆, 足以證明, 此兩幅名畫皆為張大千本人的真跡原作.
++021++
Black Cloud Covering on Top of Mt. Emei among Blue Cloud
by Zhang Daqian dated 1979.
張大千1979年作“可以橫絕峨眉巔黑雲滿布山頂藍雲環繞山間奇景潑墨兼潑彩山水圖”名畫 H138 x W 67 cm 設色紙本立軸
題識:可以橫絕峨眉巔.六十八年閏六月既望摩耶精舍八十一叟爰.
三鈐印:張爰,靑城客,摩耶精舍.
本名畫之題識及簽名 "可以橫絕峨眉巔.六十八年閏六月既望摩耶精舍八十一叟爰." 25個文字,與台灣台北歷史博物館1980年1月初版 "張大千書畫集第一集" 第76-77頁圖版50 "峨眉三頂"(H100 x W92 cm 1979年閏六月既望摩耶精舍作)之題識及簽名25個文字完全相同,故為真正.
Splashed ink and color on paper, hanging scroll, signed 1979 LUNAR-EXTRA JUNE JI WANG MOYEJINGSHE 81 YEARS OLD MAN YUAN, inscribed and tiled MT.EMEI MAY BE CROSSED ON TOP, with 3 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this are the same as those 25 words in "Three Peaks of the Mt. Omei" by Zhang Daqian (dated 1979 H100 x W92cm, "Paintings of Zhang Daqian, Vol.1", P.76-77, Picture 50, by Museum of History, Taipei, Taiwan Jan. 1980.). Thus it’s “True Authenticity”!
"Black Cloud Covering on Top of Mt. Emei among Blue Cloud" hanging scroll painting by Zhang Daqian dated 1979. This painting was unique, because Master Zhang Daqian used both splashed ink and splashed colour techniques to comply with traditional Chinese painting method formed in the history to present a new era of progress for Chinese painting to the world!
張大千1979年作“可以橫絕峨眉巔黑雲滿布山頂藍雲環繞山間奇景潑墨兼潑彩山水圖”名畫 H138 x W 67 cm 設色紙本立軸.
本件名畫之題識及簽名 "可以橫絕峨眉巔.六十八年閏六月既望摩耶精舍八十一叟爰." 25個文字,與台灣台北歷史博物館1980年1月初版 "張大千書畫集第一集" 第76-77頁圖版50 "峨眉三頂" (H100 x W92 cm 1979年閏六月既望摩耶精舍作)之題識及簽名25個文字完全相同,故為真正.
此名畫乃張大千大師開創於早期的 "畫龍點睛(點景)式潑墨兼潑彩" 畫法: 以中國國畫之 "工筆,寫意,鉤勒,設色,水墨等技法形式" 為主, 並在畫景之重要一角以 "潑墨兼潑彩" 畫法加以點景成畫, 建立了中國繪畫史上進步的新時代與新世紀.
++022++
Dwelling in the Mountain by the Lake Wuting
by Zhang Daqian dated 1967.
張大千1967年作"五亭湖上山居潑彩山水圖" 橫幅設色絹本鏡框 H64 x W70 cm
題識:爰翁丁未之秋五亭湖上寫.
二鈐印:大千唯印大幸,以介眉壽.
Splashed ink and colour on silk,mounted and framed,signed YUAN WENG,inscribed WRITTEN AT LAKE WUTING IN AUTUMN OF YEAR 1967,with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
In 1953 Zhang Daqian moved to Brazil.In Sao Paulo City he purchased 150 acres of land to build a Chinese manor house called "Bade Yuan".In this manor,there was a lake with five pavilions located at the mountain by the lake.So this lake was named "Wuting (Five Pavilions)" by Zhang Daqian personally.This painting was made by Zhang Daqian at manor house "Bade Yuan" in Sao Paulo City Brazil in 1967.In the world only Zhang Daqian had such a personal experience to live and to paint at the mountain pavilion by the Lake Wuting in his manor house,thus it is “True Authenticity”!
1953年, 張大千移居巴西, 在巴西聖保羅市購地150畝, 成立中國式莊園 "八德園", 山旁建有一湖, 其上設有五個亭子, 張大千親自稱之為 "五亭湖". 此 "五亭湖上山居潑彩山水圖" 即為張大千於1967年在巴西 "八德園" 所作, 因世上只有張大千本人才有此種親身所住五亭湖旁山居與作畫經驗, 故為真正.
++023++
Spring Cloud and Morning Mist
by Zhang Daqian dated 1979.
張大千1979年作 "春雲曉靄潑彩山水圖" 橫幅設色絹本鏡片 H47.5 x W54cm
簽名:蜀郡張大千爰.
三鈐印:張爰之印,大千居士,得心應手.
本圖簽名 "蜀郡張大千爰" 6字, 與台灣台北歷史博物館1980年12月初版 "張大千書畫集第二集" 第8-9頁圖版2 "春雲曉靄"(H69 x W176 cm 1979年11月作, 贈予剛卸任中華民國第五任總統職務而擔任台北故宮博物院管理委員會主任委員之嚴家淦先生.)之簽名6字完全相同.
Splashed ink and colour on silk, mounted, signed SHUJUN ZHANG DAQIAN YUAN, with 3 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
The signature "SHUJUN ZHANG DAQIAN YUAN" of Zhang Daqian in this are the same as those 6 words in "Spring Cloud and Morning Mist" by Zhang Daqian (Dedicated to Mr. Yan Jiagan who had been just retired from his 5th Presidency of ROC and succeeded the Chairman of Governing Association of National Palace Museum,Taipei,Taiwan, dated Nov. 1979 H69 x W176 cm, "Paintings of Zhang Daqian,Vol.2", P.8-9,Picture 2, Museum of History,Taipei,Taiwan Dec. 1980). It’s “True Authenticity”!
++024++
Spring Cloud and Morning Mist, by Zhang Daqian dated 1965. Splashed Ink and Colour on Silk, Mounted.
H 46 x W 52 cm
張大千1965年作 "春雲曉靄潑彩山水圖" 潑彩設色絹本鏡片
++025++
Impressionistic Red Lotus
by Zhang Daqian.
張大千作 "寫意紅荷圖" H 32 x W 64 cm 橫幅設色紙本鏡框
簽名: 大千居士爰.
三鈐印:張爰之印, 大千居士, 摩耶精舍.
年代: 1977 - 1982.
此圖為張大千所作之罕見寫意紅荷花圖, 精美而漂亮, 寫意而絲毫不繁雜.
Ink and colour on paper, mounted and framed, year 1977 - 1982, signed and inscribed DAQIAN JUSHI YUAN, with 3 seals of the artist.
This painting was extremely rare Impressionistic Red Lotus made by Zhang Daqian. It's so wonderful and beautiful. It looks so simply impressionistic and not very complex at all.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian (DAQIAN JUSHI YUAN) in this painting are the same as those 5 characters written in the cover painting of "Paintings of Zhang Daqian" published by Hong Kong Oriental Scholars Association, 1st Edition, in Jan. 1967. Thus it's “True Authenticity”!
此圖上之張大千簽名 (大千居士爰) 五個文字與香港東方學會1967年1月初版之 "張大千畫集" 封面圖上之張大千簽名 (大千居士爰) 完全相同, 故為真正.
++026++
The Lotus, Fish, Frogs, Shrimps, and Crabs
by Qi Baishi dated 1949. Preface inscribed by Zhang Daqian.
齊白石1949年作張大千題引首之 "香清荷花魚蛙蝦蟹圖" 手卷
題識:八十九歲白石老人.
3鈐印:齊大,白石,寄萍堂.
引首:香清 大千弟張爰.
2鈐印:張季,大千.
齊白石擅於畫出鄉村農莊 "荷花魚蛙蝦蟹" 之美, 故有 "農夫畫家" 之名稱.
Size: Painting H67 x W259.5 cm, Preface H44 x W59 cm
Horizontal ink and colour on paper, handscroll, signed BAISHI OLD MAN, inscribed 89 YEARS OLD, with 3 seals of the artist. Preface signed DAQIAN YOUNGER BROTHER ZHANG YUAN, inscribed FLAVOUROUS LOTUS AND CLEAR WATER, with 2 seals of the inscriber.
Qi Baishi loved to paint lotus, fish, frogs, shrimps, and crabs due to their beauties and symbols of farm, so Qi Baishi was called a typical and popular farmer-style painter.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
At the age of 89, Qi Baishi signed "shi 石" in his signature with a circle "O" instead of should-be a square "□" to distinguish it from the fakes.
齊白石於89歲時的簽名 "石" 字, 其 "石" 字下方為一小圓形 "O", 而不是應有之方形 "□", 以便易於區別仿畫.
++027++
The Ten Elder Men in the Legend of China
by Qi Baishi dated 1949.
齊白石1949年作 "十全老人神賢圖" 橫幅設色紙本鏡片 H 94 x W 177 cm
題識:八十九歲白石老人.
二鈐印:齊白石,借山翁.
Horizontal ink and colour on paper, mounted, signed BAISHI OLD MAN, inscribed 89 YEARS OLD, with 2 seals of the artist.
This painting was composed of ten smaller famous figure paintings by Qi Baishi, such as the second figure from the right was called "The retired premier 宰相歸田圖" by Qi Baishi dated 1935. Qi Baishi inscribed in "The retired premier" with “The retired premier has no money in the bag, he would rather to be a bandit, he will not have hurt his incorruptible integrity.”.
齊白石於 "宰相歸田圖" 上題識曰: ”宰相歸田,囊底無錢,寧肯為盜,不肯傷廉.”
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
At the age of 89, Qi Baishi signed "shi 石" in his signature with a circle "O" instead of should-be a square "□" to distinguish it from the fakes.
齊白石於89歲時的簽名 "石" 字, 其 "石" 字下方為一小圓形 "O", 而不是應有之方形 "□", 以便易於區別仿畫.
++028++
Lotus, Double Mandarin Ducks and Love Shrimps
by Qi Baishi dated 1951.
齊白石1951年作"荷花鴛鴦雙蝦佳偶圖" H94.5xW177.5 cm 橫幅設色紙本鏡片
題識:九十一歲老人白石.
三鈐印:白石,齊大,悔鳥堂.
白石老人喜歡畫鴛鴦,是因為它們象徵了美和恩愛.齊白石晚年從1948年到1953年畫了很多的"荷花鴛鴦圖",所見不下十幅,故齊白石曰:"老年心腸,不厭荷香,最怕牛羊,最喜鴛鴦.". 此幅為唯一添加 "雙蝦佳偶" 圖者名畫.
Ink and colour on paper, mounted, signed and inscribed 91 YEARS OLD MAN BAISHI, with 3 seals of the artist.
This painting was composed of lotus, double mandarin ducks and love shrimps as its name. Qi Baishi loved to paint double mandarin ducks due to their beauties and symbol of love. From 1948 to 1953 Qi Baishi painted at least ten "Lotus and double mandarin ducks" paintings. So Qi Baishi said: "In my old ages, I prefer lotus, dislike cow and goat, love double mandarin ducks the most.". This painting is the only one added with "Double Love Shrimps".
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The lines of drawing in this painting are Qi Baishi’s.
齊白石畫 "荷花鴛鴦圖" 的作畫題材, 並非少見. 如下述各著錄中圖, 齊白石皆是以紅色荷花, 大荷葉, 細長荷桿, 與水面上成雙入對的鴛鴦作為繪畫內容, 繪成佳偶天成圖: (1) 1996年5月出版, 發行人黃光男, 高玉珍主編, 台灣台北歷史博物館出版之 "齊白石畫集" 第68頁, 齊白石1938年作 "荷花鴛鴦圖" (H135.2 x W33.9 cm 直幅設色紙本). (2) 1994年7月出版, 王大山主編, 榮寶齋(香港)有限公司出版之 "齊白石畫海外藏珍" 第256 - 257頁, 圖版124, 齊白石1948年(88歲)作 "福祿鴛鴦圖" (H125 x W42 cm 直幅設色紙本立軸). (3) 1994年7月出版, 王大山主編, 榮寶齋(香港)有限公司出版之 "齊白石畫海外藏珍" 第104 - 105頁, 圖版48, 齊白石1938年(78歲)作 "荷花雙鳧圖" (H135 x W33 cm 直幅設色紙本立軸). (4) 1996年2月初版, 林庚編輯, 香港合成堂有限公司出版之 "齊白石畫集 1" 第3頁, 圖版1, 齊白石1948年(88歲)作 "春風得意圖" (H176.5 x W96.5 cm 直幅設色紙本). (5) 1996年2月初版, 林庚編輯, 香港合成堂有限公司出版之 "齊白石畫集 1" 第4頁, 圖版2, 齊白石作 "荷花鴛鴦圖" (H137 x W69 cm 直幅設色紙本). (6) 2002年4月初版, 郎紹君著, 台灣台北時報文化出版企業股份有限公司出版發行之 "齊白石的世界 1864-1957" 第472-473頁圖版, 齊白石1952年作 "荷花鴛鴦圖" (H181 x W56.7 cm 直幅水墨設色紙本立軸), 齊白石1947年作 "荷花鴛鴦圖", 齊白石1954年作 "荷花鴛鴦圖".
本名畫中, 齊白石的作畫線條皆是與齊白石平日所繪製的荷花,鴛鴦,蝦等之線條完全相同, 故為真正.
++029++
Wealth and Powerful Honour are Both to Come
by Qi Baishi dated 1949.
齊白石1949年作 "富貴有期圖" 橫幅設色紙本鏡片 H 94.5 x W 176.5 cm
題識: 富貴有期 八十九歲白石老人.
四鈐印: 白石, 魯班門下, 人長壽, 悔鳥堂.
齊白石擅於畫出鄉村農莊 "蔬菜水菓及昆蟲" 之美, 故有 "農夫畫家" 之名稱.
Horizontal ink and colour on paper, mounted, signed BAISHI OLD MAN, inscribed 89 YEARS OLD, titled WEALTH AND POWERFUL HONOUR ARE BOTH TO COME, with 4 seals of the artist.
Qi Baishi loved to paint vegetables, fruits, and insects in the country due to their beauties and symbols of farm, so Qi Baishi was called a typical and popular farmer-style painter.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
At the age of 89, Qi Baishi signed "shi 石" in his signature with a circle "O" instead of should-be a square "□" to distinguish it from the fakes.
齊白石於89歲時的簽名 "石" 字, 其 "石" 字下方為一小圓形 "O", 而不是應有之方形 "□", 以便易於區別仿畫.
++030++
Lotus and Shrimps
by Qi Baishi dated 1946.
齊白石1946年作"荷花群蝦圖" 橫幅設色紙本鏡片 H87 x W168.5 cm
題識: 八十六歲白石畫.
四鈐印: 白石老人,寄萍手段,悔鳥堂,吾畫遍行天下蒙人偽造尤多.
Horizontal ink and colour on paper, mounted, signed BAISHI PAINTED, inscribed 86 YEARS OLD, with 4 seals of the artist.
Qi Baishi loved to paint lotus, as well as shrimps in the country pond and river due to their beauties and symbols of farm, so Qi Baishi was called a typical and popular farmer-style painter.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Qi Baishi stamped a very special square seal carved with "My paintings are popular allover the world, nevertheless the fakes by others are also the same many!" on this painting to distinguish it from the fakes. The shrimps painted by Qi Baishi on this painting are all "5-arthromeres shrimps", thus it’s "True Authenticity"!
此圖為齊白石將刻有"吾畫遍行天下,蒙人偽造尤多"之方印蓋在自己的畫上,以便易於區別仿畫,且齊白石在此圖所畫的群蝦,都是"5節蝦",故為真正.
齊白石擅於畫出鄉村農莊池塘與河流中 "荷花及群蝦" 之美, 故有 "農夫畫家" 之名稱.
++031++
A Lotus Pond and Shrimps
by Qi Baishi dated 1949.
齊白石1949年作"荷花池塘群蝦圖" 橫幅設色紙本鏡片 H92 x W177 cm
題識: 借山老人八十九歲作.
二鈐印: 借山翁,齊白石.
Horizontal ink and colour on paper, mounted, signed JIE SHAN OLD MAN (Nickname of Qi Baishi), inscribed PAINTED AT THE AGE OF 89 YEARS OLD, with 2 seals of the artist.
齊白石擅於畫出鄉村農莊荷花池塘中 "荷花及群蝦" 之美, 故有 "農夫畫家" 之名稱.
Qi Baishi loved to paint lotus, as well as shrimps in the country lotus pond due to their beauties and symbols of farm, so Qi Baishi was called a typical and popular farmer-style painter.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The shrimps painted by Qi Baishi on this painting are all "5-arthromeres shrimps", thus it’s "True Authenticity"!
齊白石在此圖所畫的群蝦,都是"5節蝦",故為真正.
++032++
A Spring Voice and Great Luck
by Qi Baishi dated 1947.
齊白石1947年作 "春聲大吉圖" 橫幅設色紙本鏡片 H 91 x W 175 cm
題識: 春聲 八十七歲白石老人.
二鈐印: 齊大, 白石.
齊白石擅於畫出鄉村農莊 "花草, 禽鳥, 樹木, 岩石及昆蟲" 之美, 故有 "農夫畫家" 之名稱.
Horizontal ink and colour on paper, mounted, signed BAISHI OLD MAN, inscribed 87 YEARS OLD, titled A SPRING VOICE AND GREAT LUCK (A ROOSTER), with 2 seals of the artist.
Qi Baishi loved to paint flowers, grass, chicken, birds, trees, rocks and insects in the country due to their beauties and symbols of farm, so Qi Baishi was called a typical and popular farmer-style painter.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
At the age of 87, Qi Baishi signed "shi 石" in his signature with a circle "O" instead of should-be a square "□" to distinguish it from the fakes.
齊白石於87歲時的簽名 "石" 字, 其 "石" 字下方為一小圓形 "O", 而不是應有之方形 "□", 以便易於區別仿畫.
++033++
Eagle Perching on the Pine
by Qi Baishi. 齊白石作 "松鷹圖" H 67 x W 35 cm 直幅設色紙本中堂懸掛立軸
Ink and color on paper, Hanging Scroll, signed QI HUANG ( Qi Baishi ), with one seal BAI SHI WENG of the artist.
題識簽名: 齊璜（齊白石）.
一個鈐印: 白石翁.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Through the careful comparison and analysis with " The Seals and Signatures of Qi Baishi " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China, the seal and signature of the artist in this fine painting are both the personal seal and signature of Qi Baishi. Thus it's “True Authenticity”!
經由與中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 齐白石落款与印鉴 " 精細比對分析, 在此幅名畫上之作者題識簽名字跡, 為畫家齊白石的本人親自書寫筆跡及簽名, 故為真正.
Qi Baishi was excellent to paint a stately eagle perching on the pine tree. Except the Feet and Claws of Eagle being painted in different styles due to different painting years and paper sizes, the other parts such as the Stately Appearance and the Perching Posture of Eagle, Pine Tree and Coniferous Pine Leaves, Eagle Body and Feathers were all painted almost the same. The auction records of " Eagle Perching on the Pine " paintings by Qi Baishi are as follows:
(1) The " Eagle Standing on Pine Tree; Four-Character Couplet in Seal Script " ( Painting H 266 x W 100 cm; Calligraphy H 264.5 x W 65.8 cm x 2, ink on paper. ) by Qi Baishi was sold US 57,201,999 dollars at China Guardian Auctions Co., Ltd. Beijing China 2011 Spring Auction Lot. 1192 on 5/22/2011.
(2) The " Magnificent Hawk " ( H 187 x W 55 cm, ink and color on paper, mounted. ) by Qi Baishi dated 1952 was sold US 3,832,649 dollars at Poly International Auction Co., Ltd. Beijing China 2010 the Fifth Anniversary Autumn Auction Lot. 2172 on 12/2/2010.
(3) The " Eagle and Pine Tree " ( H 138.5 x W 65.5 cm, ink on paper, hanging scroll. ) by Qi Baishi dated 1944 was sold US 2,470,400 dollars at Poly International Auction Co., Ltd. Beijing China 2011 Spring Auction Lot. 4967 on 6/4/2011.
(4) The " Eagle Perching on the Pine " ( H 136.2 x W 64.3 cm, ink and color on paper, hanging scroll. ) by Qi Baishi dated 1946 was sold US 1,700,000 dollars at Sotheby's New York NY USA 2012 Spring Auction Lot. 700 on 3/22/2012.
齊白石擅於畫出棲息在松樹上的莊嚴老鷹圖. 除鷹腳及鷹爪部分因作畫年代及畫作尺寸不同而有所變化外, 其餘如莊嚴神韻, 棲息姿勢, 松樹與松針葉, 鷹體及羽毛等之畫法皆為大致相同. 齊白石作松鷹圖的拍賣紀錄如下:
(1) 齊白石作 " 松柏高立图 篆书四言联 " ( 畫心 高 266 x 寬 100 cm; 書法對聯 高 264.5 x 寬 65.8 cm x 2, 直幅水墨紙本 ) 2011年5月22日於中国北京中国嘉德国际拍卖有限公司2011年春季拍卖会大观 - 中国书画珍品之夜专场 Lot. 1192 售出美金 57,201,999 元.
(2) 齊白石1952年作 " 松鷹图 " ( 高 187 x 寬 55 cm, 直幅設色紙本鏡心 ) 2010年12月2日於中国北京北京保利国际拍卖有限公司2010年5周年秋季拍卖会中国近现代书画夜场 (一) Lot. 2172 售出美金 3,832,649 元.
(3) 齊白石1944年作 " 松鷹图 " ( 高 138.5 x 寬 65.5 cm, 直幅水墨紙本立軸 ) 2011年6月4日於中国北京北京保利国际拍卖有限公司2011年春季拍卖会四海集珍 - 亚洲华人藏重要近现代书画夜场 Lot. 4967 售出美金 2,470,400 元.
(4) 齊白石1946年作 " 松鷹图 " ( 高 136.2 x 寬 64.3 cm, 直幅設色紙本立軸 ) 2012年3月22日於美国紐約蘇富比国际拍卖有限公司2012年春季拍卖会 Lot. 700 售出美金 1,700,000 元.
++034++
Prolonging Life, Impressionistic Squirrel on Pine, Red Peach
by Qi Baishi dated 1948.
齊白石1948年作"寫意松樹上松鼠與紅桃益壽圖"
Ink and colour on paper,mounted and framed,pair of double screen,(left)signed BAISHI 88 YEARS OLD,inscribed PROLONGING LIFE JIE SHAN YIN GUAN ZHU ZHE,with 2 seals of the artist,(right)signed BAISHI 88 YEARS OLD,with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
These two paintings were obviously painted by Qi Baishi under the same conditions (i.e. same paper,ink,colour pigments,two seals,handwritings,signature,time,and recipient.).Qi Baishi signed "shi 石" in his signature in left one with a circle "O" instead of should-be a square "□" to distinguish it from the fakes.Two signed signatures by 6 words BAISHI 88 YEARS OLD are all the same as those 6 words signed in the "Swallows and Apricot Blossoms" by Qi Baishi dated 1948 that was auctioned at Lot.302,P. 200 of Catalog,Christies Hong Kong on Mar.22,1993.
齊白石1948年作 "寫意松樹上松鼠與紅桃益壽圖" 直幅設色紙本鏡框對屏
左屏(Left) H 68 x W 31.5 cm
右屏(Right) H 68 x W 36 cm
左屏題識: 益壽 借山吟館主者白石八十八歲. 二鈐印:白石, 齊大.
右屏題識: 白石八十八歲. 二鈐印:白石, 齊大.
此兩幅對屏名畫皆是齊白石在相同條件狀況下所繪製, 即同樣的紙張, 墨, 顏料, 兩鈐印, 書寫筆跡, 簽名, 時間, 與受贈人. 齊白石於左屏的簽名 "石" 字, 其 "石" 字下方為一小圓形 "O", 而不是應有之方形 "□", 以便易於區別仿畫. 而此兩幅對屏名畫上之兩個齊白石簽名 "白石八十八歲" 六個文字皆與佳士得香港有限公司於1993年3月22日之拍賣目錄第200頁 Lot. 302 齊白石1948年作 "燕子與杏樹花" 上之齊白石簽名 "八十八歲白石" 六個文字完全相同, 故為真正.
Authenticity:
These two paintings were obviously painted by Qi Baishi under the same conditions (i.e. same paper, ink, colour pigments, two seals, handwritings, signature, time, and recipient.). Qi Baishi signed "shi 石" in his signature in left one with a circle "O" instead of should-be a square "□" to distinguish it from the fakes. Two signed signatures by six words BAISHI 88 YEARS OLD are all the same as those six words signed in the "Swallows and Apricot Blossoms" by Qi Baishi dated 1948 that was auctioned at Lot. 302, page 200 of Catalogue, Christies Hong Kong on Mar. 22, 1993. Thus it's “True Authenticity”!
++035++
The Hard Water Drawing of the People Lived in Chongqing
by Xu Beihong dated 1942, preface inscribed by Zhang Daqian.
徐悲鴻1942年作張大千題引首之 "巴人汲水圖" 手卷
題識:壬午夏日悲鴻寫.
四鈐印:江南布衣,悲鴻之畫,東海王孫,?一罕見印文.
引首:風臺水聲 大千居士爰.
三鈐印:張爰私印,大千居士,大風堂.
Painting H67xW313 cm, Preface H32xW76 cm
Ink & colour on paper, handscroll, signed and inscribed BEIHONG WRITTEN IN 1942 SUMMER DAY, with 4 seals of the artist. Preface signed DAQIAN JUSHI YUAN, inscribed WIND STEPS THE SOUND OF WATER, with 3 seals of the inscriber.
There are three with the same content painted. Only this one is handscroll. Another one is in Beijing Xu Beihong Museum. The other (H300xW62 cm, mounted vertical scroll) was sold USD 25,704,000 by Beijing Hanhai in 2010 Autumn Auction Lot. 0276 on 12-10-2010. This was a new highest record of Xu Beihong’s.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Painter and Connoisseur Zhang Daqian means “True Authenticity”!
徐悲鴻1942年作由中國書畫名家及鑑賞家張大千題引首之 "巴人汲水圖" 手卷名畫足可視為徐悲鴻之真跡原作品.
++036++
"Jiufang Gao" People in the Chinese Ancient Historical Poem
by Xu Beihong dated 1940.
徐悲鴻1940年作 "九方皋圖" H 94 x W 177.5 cm 橫幅設色紙本鏡片
題識:悲鴻庚辰.
四鈐印:悲鴻之畫,東海王孫,徐,真宰上訴.
徐悲鴻作此圖寓言: "智者沉默寡言收歛其才能於內涵,愚者往往故作姿態多求表現以便藏拙.".
另外一幅徐悲鴻作 "九方皋圖" 係在北京徐悲鴻紀念館, 而此圖為其右方的四分之三圖面, 因兩者作畫條件及元素相同, 故為真正.
Horizontal ink and colour on paper, mounted, signed and inscribed BEIHONG 1940, with 4 seals of the artist.
Xu Beihong made this painting to imply that Silence means Wisdom, and a Fool shows his foolish behavior up in words and appearance!
Another painting with the same artist and content is in Beijing Xu Beihong Museum.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Due to another painting with the same artist and content is in Beijing Xu Beihong Museum, and this painting was made according to the right-hand side three fourth parts of that painting with same painting conditions and elements, thus it’s “True Authenticity”!
++037++
People in Chinese Ancient Historical Poem of Six Dynasties
by Xu Beihong dated 1940.
徐悲鴻1940年作 "六朝人詩意圖" H94xW177.5 cm 橫幅設色紙本鏡片
題識:悲鴻庚辰.
四鈐印:悲鴻之畫,東海王孫,悲鴻之畫,真宰上訴.
此圖之另兩幅姐妹作,一件現存莫斯科博物院,另一件於2008年4月5日至8月17日期間,曾由北京徐悲鴻紀念館合辦展覽於新加坡美術館.徐悲鴻作此圖寓言: "知足常樂,比上不足,比下有餘!".
Ink and colour on paper, mounted, signed and inscribed BEIHONG 1940,with 4 seals of the artist.
Another one with the same artist and content is in Moscow Museum.The other was exhibited in Singapore Art Museum from 2008-04-05 to 2008-08-17.Xu Beihong made these paintings to imply that though it’s neither the richest one, yet nor the poorest, people should be satisfied with status quo.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
Due to the other two sister paintings with the same artist and content,one is in Moscow Museum and another was exhibited in Singapore Art Museum,and this painting was made with same painting conditions and elements,thus it’s “True Authenticity”!
此圖之另兩幅姐妹作,一件為現存莫斯科博物院,另一件於2008年4月5日至同年8月17日期間, 曾由北京徐悲鴻紀念館合辦展覽於新加坡美術館. 因三者作畫之條件及元素皆為相同, 故為真正.
++038++
China,the Wounded Lion,Sat Watching American Flying Tiger
by Xu Beihong dated 1942.
徐悲鴻1942年作 "中國負傷之獅遙望美國飛虎飛將軍" 名畫 H91xW170 cm 橫幅設色紙本鏡片
題識:壬午春日悲鴻.
無鈐印.
此圖之左半部畫面為 "負傷之獅", 現存北京徐悲鴻紀念館.徐悲鴻作此圖寓意 "中國人民感謝美國飛虎空軍隊援華共同抗日"!
Ink and colour on paper, mounted, signed and inscribed BEIHONG 1942 SPRING DAY, with no seals.
Another sister painting with the same artist and the left-hand side part of the content (China,the Wounded Lion) is in Beijing Xu Beihong Museum. Xu Beihong made this painting to imply that Chinese people were grateful to the American Flying Tiger Team for fighting together against Japanese jets in Sino-Japan War.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
Due to another sister painting with the same artist and the left-hand side part of the content (China,the Wounded Lion) is in Beijing Xu Beihong Museum.,and this painting was made with same and extra painting conditions and elements,thus it’s “True Authenticity”!
此圖之左半部畫面為 "負傷之獅", 現存北京徐悲鴻紀念館. 因兩者間作畫之條件及元素皆為相同, 但此幅作品之繪畫內容卻更為豐富多樣化, 故為真正.
++039++
Lions and Snake
by Xu Beihong dated 1942.
徐悲鴻1942年作"獅與蛇" H95.5 x W178 cm 橫幅設色紙本鏡片
題識:壬午春日悲鴻.
三鈐印:悲鴻,徐,生于憂患.
Ink and colour on paper,mounted,signed and inscribed 1942 SPRING DAY BEIHONG,with 3 seals of the artist.
Xu qingping,Son of Xu Beihong, said:"My father loved to paint lions. Except "Slave and Lion", he did more than ten paintings subject to lions, such as "Lions and Snake"...etc. Xu Beihong made this to imply that China and U.S.A (2 Lions) fight together against Japan (1 Snake) in Sino-Japan War, might it be won by a snake?
The left-hand part of this,"Side Gaze"(H111xW109 cm) by Xu Beihong dated 1939,is in Beijing Xu Beihong Museum.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Due to the left-hand part of this painting,"Side Gaze"(H111xW109cm),is in Beijing Xu Beihong Museum,and this painting was made with extra painting conditions and elements.It’s “True Authenticity”!
徐悲鴻之子徐慶平說: 先君悲鴻公酷愛畫 "獅". 除 "奴隸與獅" 外, 他還創作過數十件以獅為題材的巨作, 如 "獅與蛇" 等. 徐悲鴻寓意抗戰時中美兩國為兩頭巨獅, 聯合對付出洞小蛇日本, 小蛇豈能勝乎? 因此幅畫的左半邊畫面為徐悲鴻1939年作 "側目" 圖 (H111 x W109 cm), 現存北京徐悲鴻紀念館. 而兩幅畫間作畫之條件及元素皆為相同, 但此幅作品之繪畫內容卻更為豐富多樣化, 故為真正.
++040++
The Single Flying Eagle and the Lion
by Xu Beihong dated 1937.
徐悲鴻1937年作 "獨飛老鷹與獅子圖" H95.5 x W178.5 cm 橫幅設色紙本鏡片
題識:獨飛 二六年六月 悲鴻.
三鈐印:悲鴻,生于憂患,東海王孫.
此圖左半部 "負傷之獅" 現存北京徐悲鴻紀念館. 徐悲鴻作此圖寓意"中國人民歡迎美國飛虎空軍隊援華共同抗日"!
Ink and color on paper,mounted,signed BEIHONG,inscribed and titled SINGLE FLYING JUN. 1937,with 3 seals of the artist.
The sister painting with the same artist and the left-hand side part of the content (China,the Wounded Lion) is in Beijing Xu Beihong Museum. Xu Beihong made this to imply that Chinese people welcame the American Flying Tiger Team to fight together against Japanese jets in Sino-Japan War.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
Due to another painting with the same artist and the left-hand side part of the content (China,the Wounded Lion) is in Beijing Xu Beihong Museum,and this painting was made with same and extra painting conditions and elements,thus it’s “True Authenticity”!
此圖之左半部畫面為 "負傷之獅", 現存北京徐悲鴻紀念館. 因兩者間作畫之條件及元素皆為相同, 但此幅作品之繪畫內容卻更為豐富多樣化, 故為真正.
++041++
The People Live in Mali Village
by Wu Guanzhong dated 1982.
吳冠中1982年作 "馬里村頭人物風景圖" H 94 x W 176 cm 橫幅設色紙本鏡片
題識:馬里村頭 荼 一九八二年.
一鈐印:荼.
如此圖, 吳冠中擅於畫出高大老樹之美, 人們到樹下納涼之美, 風景之美, 與生活之美, 故為真正.
Ink and colour on paper, mounted, signed TU 1982, inscribed and titled MALI VILLAGE, with one seal of the artist.
Wu Guanzhong was excellent to paint those beauties of tall trees, people enjoying the cool shadow under the tree, scenery, and the way of people’s living.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Wu Guanzhong was excellent to paint those beauties of tall trees, people enjoying the cool shadow under the tree, scenery, and the way of people’s living. Thus these features as existing in this painting have become his unique style to be identified as his very “True Authenticity”!
++042++
The Dwellings by the River and Mountain in Southern China
by Wu Guanzhong dated 1992.
吳冠中1992年作 "江南民居風景圖" H94 x W177 cm 橫幅設色紙本鏡片
簽名:吳冠中 一九九二.
一鈐印:吳冠中印.
吳冠中說: "我一輩子斷斷續續總在畫江南,...畫不盡江南村鎮, 都緣鄉情, 因此我的許多畫面上出現許多白牆黑瓦的江南民居.". 此名畫不論是線條, 或是樹與葉, 山, 屋旁人物, 水邊江南民居皆為吳冠中所畫, 故為真正.
Ink and colour on paper, mounted, signed WU GUANZHONG 1992, with 1 seal of the artist.
Wu Guanzhong said: I have painted lots of works regarding the southern China constantly in my life....Countless villages and towns were all derived from my country home affections. Therefore there have been many dwellings with white wall and black roof tiles at southern China appeared in my paintings.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The lines of drawing as well as the trees and leaves, mountains, people beside the houses, dwellings by the river were all painted by Wu Guanzhong for sure! It’s “True Authenticity”!
++043++
The Lion Grove Garden (Lion Woods)
by Wu Guanzhong dated 1997.
吳冠中1997年作"獅子林"H94xW177.5cm橫幅設色紙本鏡片
題識:吳冠中 九七
二鈐印:吳冠中印,冠中寫生.
Ink and colour on paper,mounted,signed and inscribed WU GUANZHONG 1997,with 2 seals of the artist.
Wu Guanzhong was excellent to paint those beauties of scenery by the complex combinations of dots and lines.
Wu Guanzhong made 5 sister paintings of this in total:
One dated 1983 H173xW290cm is in Shanghai Art Museum.
The 2nd dated 1987 H83.3xW152.2cm was sold USD3,215,000 on 2011-04-05 Lot.1171 by Sotheby’s Hong Kong.
The 3rd dated 1988 H144xW297cm was sold USD15,440,000 on 2011-06-03 Lot.2961 by Beijing Poly.
This bid is the 4th and the 5th is not for sale.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
Due to the sister one with the same artist and content is in Shanghai Art Museum,and this was made with same painting conditions and elements,it’s “True Authenticity”!
因吳冠中1997年作此 "獅子林" 圖之姐妹作品為現藏上海美術館, 而此圖與其作畫之條件及元素皆為相同, 故為真正.
++044++
The Wu Gorge
by Wu Guanzhong dated 1979.
吳冠中1979年作"巫峽魂" H96xW178.5 cm橫幅設色紙本鏡片
題識:吳冠中七九
二鈐印:吳冠中印,冠中寫生,
此圖凸顯"巫峽天下奇"奇景,線條特殊.
Ink and colour on paper,mounted,signed and inscribed WU GUANZHONG 1979,with 2 seals of the artist.
Wu Guanzhong was excellent to paint those beauties of scenery by the complex combinations of dots and lines.
There are 4 sister paintings:
One H145xW298cm is in Museum of History,Taipei,Taiwan.
The 2nd H71.8xW145.7cm was sold USD1,925,999 on 2011-10-04 Lot.1560 by Sotheby’s Hong Kong.
The 3rd dated 1985 H182xW375cm was published in "Arts of Wu Guanzhong" P.74-75 by Museum of History,Taipei,Taiwan May 1997.
This bid is the 4th.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
Due to sister one with the same artist and content is in Museum of History,Taipei,Taiwan,and this was made with same painting conditions and elements,it’s “True Authenticity”!
此圖凸顯出 "巫峽天下奇" 之特殊風景, 因線條特殊,而姐妹作品亦現藏於台灣台北歷史博物館, 故為真正.
++045++
Rocks by the Sea
by Wu Guanzhong dated 1997.
吳冠中1997年作 "海滨石" H95.5 x W178 cm 橫幅設色紙本鏡片
簽名:吳冠中 九七.
二鈐印:吳冠中印,冠中寫生.
此畫不論是線條,或是石上樹與葉,石上彩色斑點,海濱石,海波紋,遠方海上小船及天空飛燕皆為吳冠中所畫,故為真正.
另1幅 "海滨石" 係於 2011-06-03 北京保利2011年“吳冠中作品專場”Lot.2973 吳冠中1987年作 "海滨石" (H96 x W125 cm 橫幅設色紙本)售出 USD 1,698,400 元.
Ink and colour on paper, mounted, signed WU GUANZHONG 1997, with 2 seals of the artist.
The sister painting "Rocks by the Sea" by Wu Guanzhong dated 1987 (H96 x W125 cm,ink and color on paper) was sold USD 1,698,400 by Beijing Poly in 2011 "WU GUANZHONG’s WORKS" Auction Lot.2973 on 2011-06-03.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The lines of drawing as well as the trees and leaves on the rock, the colorful dots upon the rock, rocks, sea waves, remote boats on the sea and swallows in the sky were all painted by Wu Guanzhong for sure! It’s “True Authenticity”!
++046++
The Single-Log Bridge
by Wu Guanzhong dated 1989.
吳冠中1989年作 "獨木橋" 橫幅設色紙本鏡片
題識:吳冠中一九八九.
二鈐印:冠中寫生,八十年代.
吴冠中谈到:"童年走過獨木橋,白首追寫舊風貌,點線盪漾世事渺."
另幅小尺寸姐妹作"獨木橋"(1989年作 H48 x W68.5 cm 水墨設色紙本 兩幅作品之年代,內容,簽名,及一鈐印"八十年代"皆完全相同.),著錄於香港藝術家出版社1990年8月出版"吳冠中畫集"P.32.
Size: H68.5 x W103 cm
Ink and color on paper, mounted, signed WU GUANZHONG 1989, with 2 seals of the artist.
Wu Guanzhong said: I walked through the single-log bridge in my childhood,and traced back things of the past at my old age,I feel everything is insignificant!
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
The sister painting with smaller size (H48xW68.5cm by Wu Guanzhong dated 1989 Literature:"Paintings of Wu Guanzhong" by Hong Kong Artist Publishing Co. Aug. 1990 Page 32) has the same year, content, signature, one seal as this one nearly to be identical to each other despite of the big difference in size. It’s “True Authenticity”!
++047++
Expressionistic Lotus
by Wu Guanzhong dated 1990.
吳冠中1990年作 "表現主義的荷花" 直幅設色紙本鏡框 H 71 x W 64 cm
題識:吳冠中 一九九O.
二鈐印:冠中寫生, 九十年代.
Ink and color on paper, mounted and framed, signed WU GUANZHONG 1990, with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The 2nd sister painting “Lotus” by Wu Guanzhong dated 1990 (H70 x W70 cm, Literature: “Paintings of Chinese Modern Renowned Artists” Vol. 12, Page 68, Wu Guanzhong, published by Hong Kong Hanmoxuan Publishing Company on Oct. 27th, 1995.) has the same Signature and Year handwritings as this one. The 3rd sister painting “Lotus” by Wu Guanzhong dated 1990 (H70 x W140 cm) is collected by Shanghai Art Museum. Thus it is “True Authenticity”!
吳冠中1990年作 "表現主義的荷花" 直幅設色紙本鏡框 H 71 x W 64 cm
吴冠中曾经谈到: "我的画是将西画的优点表现在中国画之中. 我画的点和线, 每一笔都包括了体面的结构关系. 画中的点和线, 不管是大点小点, 长线短线, 在运用上是严格的, 都不是随便乱摆上去的, 有时一点不能多也不能少, 点子多了对画面无补, 我都想办法将他遮掉. 对线的长短也是如此, 都不是随便画上去的, 要恰到好处.". 因此, 此幅吳冠中1990年作 "荷花" 圖名畫, 即是吴冠中画的点和线的结构关系間之最佳詮釋.
而此幅作品之第2幅姐妹作吳冠中1990年作"荷花" (H70 x W70 cm) 水墨設色紙本, 與此幅作品之年代, 內容, 題識簽名, 及2個鈐印皆完全相同, 係著錄於香港翰墨軒出版有限公司於1995年10月27日出版發行之 "名家翰墨叢刊 中國近代名家書畫全集 第12冊 吳冠中/尋故人 第68頁圖". 而此兩幅作品之題識簽名 "吳冠中 一九九O" 七個文字, 經過科學筆跡比對鑑定分析, 兩者皆係出自吳冠中本人之親筆書寫筆跡, 而且完全相同, 足以證明此兩幅吳冠中1990年作 "荷花" 圖名畫姐妹作, 尺寸雖略有不同, 但是皆為吳冠中本人之真跡原作品.
第3幅姐妹作吳冠中1990年作 "荷花" (H70 x W140 cm) 水墨設色紙本, 與此幅作品之年代, 內容, 簽名, 及1個鈐印 "冠中寫生" 皆完全相同, 現藏上海美術館, 題識: "接天蓮葉, 綫曲屈, 勝于碧", 係著錄於香港翰墨軒出版有限公司於1995年10月27日出版發行之 "名家翰墨叢刊 中國近代名家書畫全集 第12冊 吳冠中/尋故人 第70頁圖".
第4幅姐妹作吳冠中1990年作 "荷花" (H69 x W68.5 cm) 水墨設色紙本, 與此幅作品之年代, 內容, 簽名, 及1個鈐印 "九十年代" 皆完全相同, 係著錄於香港藝術家出版社於1990年8月出版發行之 "吳冠中畫集 第82頁圖".
第5幅姐妹作吳冠中1990年作 "接天蓮葉勝於碧荷花圖" (H70 x W70 cm) 水墨設色紙本, 與此幅作品之年代, 內容, 簽名, 及2個鈐印 "冠中寫生, 九十年代." 皆完全相同, 題識: "接天蓮葉, 形綫曲折, 勝于碧", 係著錄於 "吳冠中自選畫集", 東方出版社, 建築與城市出版社有限公司, 1992年出版. "吳冠中作品賞鑒" 1993年月曆, 中國攝影出版社(附月曆), 陳嘉庚國際學會會訊 第一期封三, 1994年.
第6幅姐妹作吳冠中1990年作 "接天蓮葉荷花圖" (H96.6 x W180.2 cm) 水墨設色紙本, 鏡心, 與此幅作品之年代, 簽名, 及1個鈐印 "冠中寫生" 皆完全相同, 題識: "接天蓮葉, 綫曲屈, 勝于碧", 係著錄於 "散珍集成" 第218至219頁, 河北教育出版社, 2005年5月出版. "吳冠中畫展" 第22頁, (北京) 深巷畫廊, 2006年5月. "藝冠中外" 第84至85頁, 百雅軒文化藝術機構, 2008年7月出版. 拍賣記錄為: 2010年11月21日北京誠軒拍賣有限公司2010年秋季拍賣會中國書畫 (二) Lot. 0313 拍賣成交價: 美金 US$ 935,580 元.
Wu Guanzhong said: "My paintings demonstrate the advantages of the western style merged into Chinese ones. Every dot and line painted by me includes the linking structure relation between plane and volume. The dots and lines at my paintings, no matter they are big or small dots, long or short lines, are not randomly placed. They are used carefully in strict requirements. Sometimes they are not even one dot more or less. Too many dots are needless by the paintings. Therefore sometimes I have to mask surplus dots. So are the lines in their length. They are not randomly painted and must be put precisely in point.". Thus this “Lotus” was the best explanation of the painting theory about dots and lines created by Wu Guanzhong.
The 4th sister painting “Lotus” by Wu Guanzhong dated 1990 (H69 x W68.5 cm, Literature: “Paintings of Wu Guanzhong” Page 82, published by Hong Kong Artist Publishing Company in Aug., 1990.) has also the same Signature and Year handwritings as this one.
The 5th sister painting “Lotus” by Wu Guanzhong dated 1990 (H70 x W70 cm, Literature: “Paintings selected by Wu Guanzhong”, published by Hong Kong Oriental Publishing Company, Architecture and City Publishing Company, in 1992.) has also the same Signature and Year handwritings with the same two seals as this one.
The 6th sister painting “Lotus” by Wu Guanzhong dated 1990 (H96.6 x W180.2 cm, Literature: “The Collection of Lost Art”, page 218–219, published by Hebei Educational Publishing Company in May 2005. Auction record: Sold US$ 935,580 by Beijing ChengXuan Auctions Co., Ltd. at 2010 Autumn Auction Chinese paintings [2] Lot. 0313 on Nov. 21st, 2010. ) has also the same Signature and Year handwritings with the same one seal as this one.
++048++
Hwan Shyua Showed Painting to Guests in East Jin Dynasty
by Fu Baoshi dated 1939, preface inscribed by Yu Youren.
傅抱石1939年作由于右任題引首之“詩入畫中桓玄出畫圖”手卷
題識:新喻傅抱石東川金剛坡下寫.
三鈐印:抱石私印,其命唯新,往往醉後.
引首:詩入畫中 于右任.
一鈐印:右任.
Size: Painting H 67.5 x W 371.5 cm, Preface H 33.5 x W 78.5 cm
Ink and colour on paper, handscroll, signed and inscribed XIN YU FU BAOSHI WRITTEN IN EAST CHUAN JIN GANG PO XIA, with 3 seals of the artist. Preface signed Yu Youren, inscribed THE POEM WAS DESCRIBED IN THE PAINTING, with 1 seal of the inscriber.
There are 3 paintings with the same content painted by Fu Baoshi in total. These are all very famous in the publications of Fu Baoshi’s paintings. The other two are not handscrolls and were painted with very small sizes.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Yu Youren means “True Authenticity”!
傅抱石1939年作由國民政府第3任監察院院長于右任題引首之“詩入畫中桓玄出畫圖”手卷名畫足可視為傅抱石之真跡原作品.
++049++
The Nine Elders of the Poetry by Bai Juyi in Tang Dynasty
by Fu Baoshi dated 1952, preface inscribed by Xu Beihong.
傅抱石1952年作由徐悲鴻題引首之 "元氣淋漓九老圖" 手卷
題識:一九五二年壬辰九月下浣傅抱石寫.
四鈐印:軌跡大化,抱石大利,往往醉後,其命唯新.
引首:元氣淋漓 悲鴻.
一鈐印:悲鴻.
Size: Painting H 68 x W 350.5 cm, Preface H 34 x W 61.5 cm
Ink and colour on paper, handscroll, signed and inscribed FU BAOSHI WRITTEN IN THE LAST TEN DAYS OF SEP. 1952, with 4 seals of the artist. Preface signed XU BEIHONG, inscribed IN HIGH SPIRITS, with 1 seal of the inscriber.
There are three paintings with the same content painted by Fu Baoshi in total. These are all very famous in the publications of Fu Baoshi’s paintings.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Painter and Connoisseur Xu Beihong means “True Authenticity”!
傅抱石1952年作由中國書畫名家及鑑賞家徐悲鴻題引首之 "元氣淋漓九老圖" 手卷名畫足可視為傅抱石之真跡原作品.
++050++
Premier Xie An Brought Beauties to the East Shan Mountain
by Fu Baoshi dated 1945, preface inscribed by Xie Zhiliu.
傅抱石1945年作由謝稚柳題引首之 "春風綠揚東山攜妓圖" 手卷
題識:乙酉人日新喻傅抱石.
三鈐印:抱石私印,傅,其命唯新.
引首:春風綠揚 謝稚柳.
二鈐印:謝稚之印,稚柳.
Size: Painting H66 x W371.5cm, Preface H33 x W63.5cm
Ink and colour on paper, handscroll, signed and inscribed FEB. 19, 1945 XIN YU FU BAOSHI, with 3 seals of the artist. Preface signed XIE ZHILIU, inscribed SPRING WIND BLOWS THE GREEN, with 2 seals of the inscriber.
There are five paintings with the same content painted by Fu Baoshi. These are all very famous in the publications of Fu Baoshi’s. The other four are not handscrolls and were painted with very small sizes. The fourth one (dated 1946, H104xW61 cm) was sold USD 5,280,000 on 12-20-2010 by Beijing CNTC Int’l Auction Co., LTD.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Painter and Connoisseur Xie Zhiliu means “True Authenticity”!
傅抱石1945年作由中國書畫名家及鑑賞家謝稚柳題引首之 "春風綠揚東山攜妓圖" 手卷名畫足可視為傅抱石之真跡原作品.
++051++
The Landscape of River Li being Well-known Forever
by Li Keran dated 1987.
李可染1987年作 "漓江山水傳千古圖" H95.5 x W177 cm 橫幅設色紙本鏡片
題識:漓江山水傳千古 歲次丁卯夏 可染畫.
二鈐印:可染,李.
Horizontal ink and colour on paper, mounted, signed YEAR 1987 SUMMER PAINTED BY KERAN, inscribed and titled THE LANDSCAPE OF RIVER LI BEING WELL-KNOWN FOREVER, with 2 seals of the artist.
Li Keran was excellent to paint those beauties of landscape along River LI,the sailboats on the river,as well as the mountains and dwelling by the river.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Li Keran was so excellent to paint those beauties of landscape along River LI, the sailboats on the river, as well as the mountains and dwelling by the river. Thus these features as existing in this painting have become his unique style to be identified as his “True Authenticity”!
++052++
Spring and Rocks Landscape of Mountain Yandang, by Lu Yanshao dated 1978. Ink and Colour on Paper, Hanging Scroll.
H 90 x W 46.7 cm
陸儼少1978年12月作 "雁蕩泉石山水圖" 直幅設色紙本中堂懸掛立軸
題識: 雁蕩泉石之圖, 一九七八年十二月, 陸儼少於湯山.
鈐印: 陸儼少 (一鈐印)
備註: "雁蕩" 為浙江省溫州市雁蕩山風景區, 是中國十大名山之ㄧ. 清朝狀元錢維城曾繪 "雁蕩圖", 常為中國歷代畫家的作畫題材. "湯山" 為南京城東約29公里的湯山溫泉風景區, 陸儼少曾於一九七八年十二月至一九七九年之春予居 "湯山" 作畫.
++053++
The Children and Father Sitting on the Back of Camels
by Huang Zhou dated 1987.
黃冑1987年作 "駱駝背上的小學生與父親" H96 x W178 cm 橫幅設色紙本鏡片
簽名:黃冑.
二鈐印:黃冑之印,雨石居.
黃冑擅於畫出新疆人物,動物,人民生活,與風景之美.
Horizontal ink and colour on paper, mounted, signed Huang Zhou, with 2 seals of the artist.
Huang Zhou was excellent to paint those beauties of the figures, animals, people’s living, and landscape of Xin Jiang (Chinese Turkestan). On 2011-06-04 the sister painting "The Children Sitting on the Back of Camel" (H143 x W135 cm) by Huang Zhou dated 1987 was sold USD 2,316,000 at Beijing Poly 2011 Spring Auction Lot.5136.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Huang Zhou was excellent to paint those beauties of the figures, animals, people’s living, and landscape of Xin Jiang (Chinese Turkestan). Thus these features as existing in this painting have become his unique style to be identified as his “True Authenticity”!
"The Children and Father Sitting on the Back of Camels" by Huang Zhou dated 1987.
黃冑1987年作“駱駝背上的小學生與父親”H96 x W178 cm 橫幅設色紙本鏡片.
黃冑擅於畫出新疆人物,動物,人民生活,與風景之美. 另一幅黃冑1987年姐妹作 "駝背上的小學生 The Children Sitting on the Back of Camel" H143 x W135 cm 立軸設色紙本 北京保利 2011-06-04 2011年春拍 Lot.5136 售出 USD 2,316,000 元.
++054++
Landscape
by Huang Binhong.
黃賓虹作 "山水圖" H93 x W175 cm 橫幅設色紙本鏡片
題識: 遶屋多叢樹, 蛩聲入曉窗, 此時心似水, 殘月照明缸. 黃賓虹畫.
二鈐印: 黃賓虹, 冰上鴻飛館.
Year:1934-1949
Horizontal ink and colour on paper,mounted,signed HUANG BINHONG PAINTED,inscribed THERE ARE PLENTY OF BUSHES SURROUNDING THE HOUSES,THE CHIRPINGS OF LOCUSTS SOUND INTO WINDOWS IN THE MORNING,MY HEART IS STILL AS WATER AT THIS TIME,THE OLD MOONLIGHT STILL SHINES BRIGHTLY THE CROCK CISTERN ,with 2 seals of the artist.
In the world of Chinese Modern Art,there is a common saying of "Northern Qi and Southern Huang".The Northern Qi means Master Qi Baishi,and the Southern Huang means Huang Binhong.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
Huang Binhong was excellent to paint "Landscape Paintings" with heavy cokelike ink,thus this feature as existing in this painting has become his unique style to be identified as his very “True Authenticity”!
在中國現代美術界有 "北齊南黃" 之說. 北齊就是以畫蝦聞名的大師齊白石, 南黃就是著名的山水畫家黃賓虹. 黃賓虹以善用焦墨和濃墨著稱.
In the world of Chinese Modern Art, there is a common saying of "Northern Qi and Southern Huang". The Northern Qi means Master Qi Baishi, and the Southern Huang means Huang Binhong. Huang Binhong was excellent to paint "Landscape Paintings" with heavy cokelike ink.
++055++
Landscape, by Huang Binhong. Ink and Colour on Paper, Hanging Scroll.
H 67 x W 33.3 cm
黃賓虹作 "山水圖" 直幅設色紙本中堂懸掛立軸
簽名: 賓虹
鈐印: 賓虹 (一鈐印)
++056++
Landscape, by Huang Binhong. Ink and Colour on Paper, Hanging Scroll.
H 64.8 x W 33 cm
黃賓虹作 "山水圖" 直幅設色紙本中堂懸掛立軸
題識: 合倪黃吳王為一家法, 寫以味蕖有道正之. 賓虹.
鈐印: 賓虹 (一鈐印)
備註: "倪黃吳王" 為元代四大家:倪瓚 (1301-1374), 黃公望 (1269-1354), 吳鎮 (1280-1354), 王蒙 (1308-1385). 上款人 "味蕖" 為黃賓虹之學生郭味蕖 (1908年2月15日-1971年12月21日), 画家, 原名忻, 后改味蕖, 山东潍县人.
++057++
Annual Purely Floral and Fruity Tributes
by Wu Changshuo.
吳昌碩作 "歲朝清供圖" H 89.5 x W 173.5 cm 橫幅設色紙本鏡片
題識: 歲朝清供 安吉吳昌碩.
一鈐印: 昌碩.
年代 (Year) : 1915 - 1927.
Horizontal ink and colour on paper, mounted, year 1915 - 1927, signed ANJI (Home County Town of the artist) WU CHANGSHUO, inscribed and titled ANNUAL PURELY FLORAL AND FRUITY TRIBUTES, with 1 seal of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
In early Republic of China,there were "Three Stones" to name painters at that time. These three painters are Qi Baishi,Fu Baoshi,and Wu Changshuo. In painting techniques, Wu Changshuo was used to painting with the way of writing calligraphy. Therefore the flowers, woods, and stones, like those in this painting, were all written heavily and skillfully by Wu Changshuo. The strength of writings can penetrate into the back of paper. Thus it's “True Authenticity”!
民初畫家有 "三石" 的稱號, 分別為齊白石, 傅抱石, 還有吳昌碩. 在繪畫上面, 吳昌碩慣用 "寫" 的風格來繪畫, 所以吳昌碩畫的花卉木石, 正如此圖, 為笔力厚重老辣, 力透纸背, 故為真正.
++058++
Five Naked Ladies
by Lin Fengmian.
林風眠作 "五裸女圖" 橫幅設色紙本鏡片
簽名:林風眠
一鈐印:林風瞑印
林风眠擅於画出 "仕女人物" 與 "背景靜物" 間色彩協調而略帶西方抽象式诗情画意之表現美.
此幅作品為林風眠傳世之大尺寸略帶西方抽象式诗情画意之表現美 "仕女圖" 的代表作.
Year:1925–1949
H92.5xW175 cm
Horizontal ink and colour on paper, mounted, signed Lin Fengmian, with 1 seal of the artist.
Lin Fengmian was excellent to paint those beauties of ladies and their coordinate background. This painting by Lin Fengmian was the only one painted in the abstract beautiful description that was mixed with some western style and in large size.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Lin Fengmian was so excellent to paint those beauties of ladies and their coordinate background, as well as the abstract beautiful description that was mixed with some western style. Thus these features as existing in this painting have become his unique style to be identified as his very “True Authenticity”!
Lin Fengmian's works of art with lage horizontal sizes such as this painting (H 92.5 x W 175 cm) were nearly all destroyed by the artist himself in his bathroom tub during the Cultural Revolution in China. Only these few works that were painted before 1949, collected by the family member of the Kuomintang party high ranking founding official, and brought to Taiwan, have been actually survived.
林風眠所作之橫幅大尺寸作品 (如此圖 H 92.5 x W 175 cm) 在文化大革命期間幾乎皆已經被林風眠所自毀於浴缸. 因此, 倖存者應是作於1949年以前, 並被國民黨黨國元老家族所收藏而攜往台灣保存者.
++059++
Two Beautiful Ladies and the Vase
by Lin Fengmian.
林風眠作“二美與花瓶圖”橫幅設色紙本鏡片
簽名:林風眠
一鈐印:林風瞑印
林风眠擅於画出“仕女人物”與“花瓶靜物”間诗情画意之美.
Year: 1925–1949
Size: H 94 x W 176 cm
Horizontal ink and colour on paper, mounted, signed Lin Fengmian, with 1 seal of the artist.
Lin Fengmian was excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Lin Fengmian was so excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase. Thus these features as existing in this painting have become his unique style to be identified as his very “True Authenticity”!
Lin Fengmian's works of art with lage horizontal sizes such as this painting (H 94 x W 176 cm) were nearly all destroyed by the artist himself in his bathroom tub during the Cultural Revolution in China. Only these few works that were painted before 1949, collected by the family member of the Kuomintang party high ranking founding official, and brought to Taiwan, have been actually survived.
林風眠所作之橫幅大尺寸作品 (如此圖 H 94 x W 176 cm) 在文化大革命期間幾乎皆已經被林風眠所自毀於浴缸. 因此, 倖存者應是作於1949年以前, 並被國民黨黨國元老家族所收藏而攜往台灣保存者.
++060++
Three Beautiful Ladies and the Vase
by Lin Fengmian.
林風眠作“三美與花瓶圖”橫幅設色紙本鏡片
簽名:林風眠
一鈐印:林風瞑印
林风眠擅於画出“仕女人物”與“花瓶靜物”間诗情画意之美.
Year: 1925–1949
Size: H 93.5 x W 175.5 cm
Horizontal ink and colour on paper, mounted, signed Lin Fengmian, with 1 seal of the artist.
Lin Fengmian was excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Lin Fengmian was so excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase. Thus these features as existing in this painting have become his unique style to be identified as his very “True Authenticity”!
Lin Fengmian's works of art with lage horizontal sizes such as this painting (H 93.5 x W 175.5 cm) were nearly all destroyed by the artist himself in his bathroom tub during the Cultural Revolution in China. Only these few works that were painted before 1949, collected by the family member of the Kuomintang party high ranking founding official, and brought to Taiwan, have been actually survived.
林風眠所作之橫幅大尺寸作品 (如此圖 H 93.5 x W 175.5 cm) 在文化大革命期間幾乎皆已經被林風眠所自毀於浴缸. 因此, 倖存者應是作於1949年以前, 並被國民黨黨國元老家族所收藏而攜往台灣保存者.
++061++
Court Ladies and the Vase
by Lin Fengmian.
林風眠作 "宮女與花瓶圖" H97 x W185 cm 橫幅設色紙本鏡片
簽名:林風眠
一鈐印:林風瞑印
林风眠擅於画出 "仕女人物" 與 "花瓶靜物" 間诗情画意之美.
Year:1925-1949
Horizontal ink and colour on paper, mounted, signed Lin Fengmian, with 1 seal of the artist.
Lin Fengmian was excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Lin Fengmian was so excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase. Thus these features as existing in this painting have become his unique style to be identified as his very “True Authenticity”!
Lin Fengmian's works of art with lage horizontal sizes such as this painting (H 97 x W 185 cm) were nearly all destroyed by the artist himself in his bathroom tub during the Cultural Revolution in China. Only these few works that were painted before 1949, collected by the family member of the Kuomintang party high ranking founding official, and brought to Taiwan, have been actually survived.
林風眠所作之橫幅大尺寸作品 (如此圖 H 97 x W 185 cm) 在文化大革命期間幾乎皆已經被林風眠所自毀於浴缸. 因此, 倖存者應是作於1949年以前, 並被國民黨黨國元老家族所收藏而攜往台灣保存者.
++062++
Dwelling in the Mountains
by Wu Hufan dated 1930, preface inscribed by Xie Zhiliu.
吳湖帆1930年作由謝稚柳題引首之 "春風綠揚枝山居圖" 手卷
題識:山居圖 庚午冬日 吳湖帆.
三鈐印:吳湖騷,倩盦,梅景書屋.
引首:春風綠揚枝 謝稚柳.
二鈐印:稚柳,謝稚之印.
如此幅圖卷內容所示,吳湖帆擅於畫出中國傳統之 "青綠山水" 圖. 吳湖帆1930年作由中國書畫名家及鑑賞家謝稚柳題引首之 "春風綠揚枝山居圖" 手卷名畫足可視為吳湖帆之真跡原作品.
Size: Painting H 66.5 x W 318 cm, Preface H 33 x W 83 cm
Horizontal ink and colour on paper, handscroll, signed 1930 WINTER DAY WU HUFAN, inscribed and titled DWELLING IN THE MOUNTAINS, with 3 seals of the artist. Preface signed Xie Zhiliu, inscribed SPRING WIND BLOWS THE GREEN BRANCHES OF TREES, with 2 seals of the inscriber.
Wu Hufan was excellent to paint Chinese traditional "Green Landscape" (青綠山水) painting as shown in this scroll!
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Painter and Connoisseur Xie Zhiliu means “True Authenticity”!
++063++
Dwelling in the Mountains
by Wu Hufan dated 1930. 吳湖帆1930年作 "山居圖" H 95.5 x W 178 cm 橫幅設色紙本鏡片
題識簽名:山居圖 庚午冬日 吳湖帆.
三個鈐印:吳湖颿,倩盦,梅景書屋.
Ink and Colour on Paper, mounted, signed 1930 WINTER DAY WU HUFAN, inscribed and titled DWELLING IN THE MOUNTAINS, with three seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Through the careful comparison and analysis with " The Seals and Signatures of Wu Hufan " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China, the seals and signature of the artist in this fine painting are both the personal seals and signature of Wu Hufan. Thus it's “True Authenticity”!
經由與中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 吳湖帆落款与印鉴 " 精細比對分析, 在此幅名畫上之作者題識簽名字跡與鈐印, 為畫家吳湖帆的本人親自書寫筆跡及簽名印鑑, 故為真正.
Wu Hufan was excellent to paint Very Fine and Delicate Drawings of Landscape Painting. The auction records of " Landscape " paintings by Wu Hufan are as follows:
(1) The " Landscape " ( H 30.5 x W 707.8 cm, ink on paper, handscroll. ) by Wu Hufan dated 1954 was sold US 13,553,600 dollars at Beijing Hanhai Art Auction Co., Ltd. Beijing China 2011 Autumn Auction Lot. 215 on 11/17/2011.
(2) The " Grand Trees and Overlapping Mountains " ( H 48 x W 106 cm, ink and color on paper, mounted. ) by Wu Hufan dated 1947 was sold US 2,854,800 dollars at China Guardian Auctions Co., Ltd. Beijing China 2012 Spring Auction Lot. 851 on 5/12/2012.
(3) The " Landscape " ( H 43 x W 65 cm, ink and color on paper, mounted. ) by Wu Hufan dated 1958 was sold US 1,363,100 dollars at Xiling Yinshe Auction Hangzhou China 2012 Spring Auction Lot. 16 on 7/7/2012.
(4) The " Landscape " ( H 106 x W 45 cm, ink and color on paper, mounted. ) by Wu Hufan dated 1946 was sold US 1,169,940 dollars at Poly International Auction Co., Ltd. Beijing China 2011 Autumn Auction Lot. 1695 on 12/4/2011.
(5) The " Landscape in the Style of the Old Masters " ( H 21.5 x W 121.3 cm, H 21.5 x W 54 cm, ink and color on paper, handscroll. ) by Wu Hufan was sold US 949,420 dollars at Christie's Hong Kong 2011 Autumn Auction Lot. 2008 on 11/29/2011.
吳湖帆擅於畫工筆山水圖. 吳湖帆作山水圖的拍賣紀錄如下:
(1) 吳湖帆1954年作 " 富春山居圖 " ( 高 30.5 x 寬 707.8 cm, 水墨紙本手卷 ) 2011年11月17日於中国北京北京翰海拍卖有限公司2011秋季拍卖会庆云大观 - 近现代书画专场 Lot. 215 售出美金 US 13,553,600 元.
(2) 吳湖帆1947年作 " 古树层峦 " ( 高 48 x 寬 106 cm, 橫幅設色紙本鏡心 ) 2012年5月12日於中国北京中国嘉德国际拍卖有限公司2012春季拍卖会大观 - 中国书画珍品之夜专场 Lot. 851 售出美金 2,854,800 元.
(3) 吳湖帆1958年作 " 山水图 " ( 高 43 x 寬 65 cm, 橫幅設色紙本鏡心 ) 2012年7月7日於中国杭州西泠印社拍卖有限公司2012年春季拍卖会中国书画近现代名家作品专场 ( 一 ) Lot. 16 售出美金 1,363,100 元.
(4) 吳湖帆1946年作 " 孟襄阳诗仿叔明笔意图 " ( 高 106 x 寬 45 cm, 直幅設色紙本鏡心 ) 2011年12月4日於中国北京北京保利国际拍卖有限公司2011年秋季拍卖会海外珍藏中国重要近现代书画及近现代书画夜场 Lot. 1695 售出美金 1,169,940 元.
(5) 吳湖帆作 " 湖帆临唐六如项子京采莲图卷 " ( 高 21.5 x 寬 121.3 cm, 高 21.5 x 寬 54 cm, 設色紙本手卷 ) 2011年11月29日於香港佳士得香港有限公司2011年秋季拍卖会中国近现代画 Lot. 2008 售出美金 949,420 元.
++064++
Landscape after Zhao Mengfu
by Wu Hufan dated 1950. 吳湖帆1950年作 "擬趙孟頫山水圖" H 119 x W 43.4 cm 直幅設色紙本中堂懸掛立軸
Ink and Colour on Paper, Hanging Scroll, signed WU HUFAN, inscribed and dedicated AFTER ZHAO SONGXUE ( Zhao Mengfu ) IN THE MID-AUTUMN OF 1950 FOR DEDICATION TO MR. SHOU SHAN, with one seal of the artist.
題識簽名︰ 擬趙松雪庚寅中秋為壽山先生雅鑒 吳湖帆
一個鈐印︰ 吳湖颿.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Through the careful comparison and analysis with " The Seals and Signatures of Wu Hufan " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China, the seal and signature of the artist in this fine painting are both the personal seal and signature of Wu Hufan. Thus it's “True Authenticity”!
經由與中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 吳湖帆落款与印鉴 " 精細比對分析, 在此幅名畫上之作者題識簽名字跡與鈐印, 為畫家吳湖帆的本人親自書寫筆跡及簽名印鑑, 故為真正.
" Zhao Songxue " mentioned in the inscription of this painting was famous painter Zhao Mengfu ( 1254 - 1322 ) in Yuan Dynasty, and he was also the maternal grandfather of famous painter Wang Meng ( 1308 - 1385 ) in Yuan Dynasty.
Wu Hufan was excellent to paint Very Fine and Delicate Drawings of Landscape Painting. The auction records of " Landscape " paintings by Wu Hufan are as follows:
(1) The " Landscape " ( H 30.5 x W 707.8 cm, ink on paper, handscroll. ) by Wu Hufan dated 1954 was sold US 13,553,600 dollars at Beijing Hanhai Art Auction Co., Ltd. Beijing China 2011 Autumn Auction Lot. 215 on 11/17/2011.
(2) The " Grand Trees and Overlapping Mountains " ( H 48 x W 106 cm, ink and color on paper, mounted. ) by Wu Hufan dated 1947 was sold US 2,854,800 dollars at China Guardian Auctions Co., Ltd. Beijing China 2012 Spring Auction Lot. 851 on 5/12/2012.
(3) The " Landscape " ( H 43 x W 65 cm, ink and color on paper, mounted. ) by Wu Hufan dated 1958 was sold US 1,363,100 dollars at Xiling Yinshe Auction Hangzhou China 2012 Spring Auction Lot. 16 on 7/7/2012.
(4) The " Landscape " ( H 106 x W 45 cm, ink and color on paper, mounted. ) by Wu Hufan dated 1946 was sold US 1,169,940 dollars at Poly International Auction Co., Ltd. Beijing China 2011 Autumn Auction Lot. 1695 on 12/4/2011.
(5) The " Landscape in the Style of the Old Masters " ( H 21.5 x W 121.3 cm, H 21.5 x W 54 cm, ink and color on paper, handscroll. ) by Wu Hufan was sold US 949,420 dollars at Christie's Hong Kong 2011 Autumn Auction Lot. 2008 on 11/29/2011.
本名畫題識內容中所提及之 " 趙松雪 ", 即元代名畫家趙孟頫 Zhao Mengfu ( 1254 - 1322 ), 亦即元代名畫家王蒙 Wang Meng ( 1308 - 1385 ) 的外祖父.
吳湖帆擅於畫工筆山水圖. 吳湖帆作山水圖的拍賣紀錄如下:
(1) 吳湖帆1954年作 " 富春山居圖 " ( 高 30.5 x 寬 707.8 cm, 水墨紙本手卷 ) 2011年11月17日於中国北京北京翰海拍卖有限公司2011秋季拍卖会庆云大观 - 近现代书画专场 Lot. 215 售出美金 US 13,553,600 元.
(2) 吳湖帆1947年作 " 古树层峦 " ( 高 48 x 寬 106 cm, 橫幅設色紙本鏡心 ) 2012年5月12日於中国北京中国嘉德国际拍卖有限公司2012春季拍卖会大观 - 中国书画珍品之夜专场 Lot. 851 售出美金 2,854,800 元.
(3) 吳湖帆1958年作 " 山水图 " ( 高 43 x 寬 65 cm, 橫幅設色紙本鏡心 ) 2012年7月7日於中国杭州西泠印社拍卖有限公司2012年春季拍卖会中国书画近现代名家作品专场 ( 一 ) Lot. 16 售出美金 1,363,100 元.
(4) 吳湖帆1946年作 " 孟襄阳诗仿叔明笔意图 " ( 高 106 x 寬 45 cm, 直幅設色紙本鏡心 ) 2011年12月4日於中国北京北京保利国际拍卖有限公司2011年秋季拍卖会海外珍藏中国重要近现代书画及近现代书画夜场 Lot. 1695 售出美金 1,169,940 元.
(5) 吳湖帆作 " 湖帆临唐六如项子京采莲图卷 " ( 高 21.5 x 寬 121.3 cm, 高 21.5 x 寬 54 cm, 設色紙本手卷 ) 2011年11月29日於香港佳士得香港有限公司2011年秋季拍卖会中国近现代画 Lot. 2008 售出美金 949,420 元.
++065++
Landscape in Windy Spirit
by Xie Zhiliu.
謝稚柳作 "生風抖擻山水圖" H 94.5 x W 177 cm 橫幅設色紙本鏡片
題識: 生風抖擻 壯暮翁稚柳.
二鈐印: 謝稚之印, 稚柳.
年代 (Year) : 1936 - 1949.
Horizontal ink and colour on paper, mounted, year 1936 - 1949, signed ZHUANG MU WENG ZHILIU, inscribed and titled LANDSCAPE IN WINDY SPIRIT, with 2 seals of the artist.
謝稚柳工於山水畫, 以落墨為主, 融以設色, 進而推演落墨山水之畫理. 正如此圖, 畫中山崖峭壁與樹木之線條及其皺紋擦刷, 皆為謝稚柳之老練畫法, 故為真正.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Xie Zhiliu was excellent to paint "Landscape" mainly in ink first, and then mixed it in colours, in order to develop the painting theory for landscape drawing in ink. Just like the mountain cliffs and trees in this painting, the lines and brushes of them were all painted skillfully by Xie Zhiliu. Thus it's “True Authenticity”!
++066++
High Mountains and Flowing Waters Landscape
by Huang Junbi dated Dec.1938. 黃君璧1938年12月作 "高山流水山水圖" H 95 x W 179 cm 橫幅設色紙本鏡片
題識: 高山流水, 戊寅嘉平, 嶺南黃君璧.
一鈐印: 黃君璧印.
黃君璧與張大千, 溥儒 ( 溥心畬 ) 號稱 "渡海三大名家". "高山流水" 出自 "列子. 湯問": 春秋時楚國的伯牙善於彈琴, 好友鍾子期能夠聽出他琴音裡所要表達的心意. 而文中 "志在登高山", "志在流水" 二語, 就被濃縮成 "高山流水", 用以形容樂曲的高妙, 後來人們就用它來比喻 "知音" 之意.
Ink and Color on Paper, Mounted, signed SOUTHERN AREA OF THE FIVE RIDGES CHINA LINGNAN HUANG JUNBI, inscribed and titled HIGH MOUNTAINS AND FLOWING WATERS, DEC. 1938, with one seal of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of the artist in this fine painting are all the personal handwritings and signature of Huang Junbi. Thus it's “True Authenticity”!
在此名圖上之作者題識書法及簽名字跡, 皆為畫家黃君璧的本人親自書寫筆跡及簽名, 故為真正.
Huang Junbi and Zhang Daqian, Pu Ru ( Pu Xinyu ) were called "Three Famous Artists came across the sea from China to Taiwan". The title of this painting "High Mountains and Flowing Waters Landscape" was derived from an ancient historical story recorded in a book named "Lie Zi - Tang Wen": During the Epoch of Spring and Autumn China from 770 B.C. to 476 B.C., a musician called Bo Ya in Nation Chu was excellent to play Chinese fretted musical instrument with five or seven strings, and his good friend Zhong Ziqi could always understand his true mind of expression to play by listening to the music sounds. Thus the two sentences "To have an ambition to climb High Mountains" and "To have an ambition to take a trip via Flowing Waters" written in the article of the story were combined to form new Chinese words "High Mountains and Flowing Waters" as an idiom to describe "Excellent Music" or "A Close or Intimate Friendship with Mutual Understanding".
++067++
Green Mountain and White Cloud
by Pu Ru, preface inscribed by Zhang Daqian.
溥儒作張大千題引首之 "青山白雲山水圖" 手卷
題識:青山窮無言,白雲勻舒卷,對此復忘歸,何心在軒冕.心畬.
四鈐印:嶽道人,二樂軒,舊王孫,心畬.
引首:春樹龍蟠 大千居士爰.
二鈐印:蜀郡張爰,大風堂.
Painting H67.5xW355 cm,Preface H33.5xW75 cm
Year:1950s
Ink and colour on paper, handscroll, signed XINYU, inscribed THE GREEN MOUNTAIN IS VOICELESS, THE WHITE CLOUD IS FOLDED AND SPREAD AS SCROLL, IF YOU HAVE FORGOTTEN HOME IN VIEWING THESE BEAUTIFUL SCENERIES, WHEREABOUTS HAVE YOUR AMBITIONS OF POWER AND FAME BEEN GONE? with 4 seals of the artist. Preface signed DAQIAN JUSHI YUAN, inscribed SPRING TREE GROWING IN DRAGON'S SHAPE, with 2 seals of the inscriber.
Another handscroll (H34xW778cm) by Pu Ru was sold USD 862,500 by Beijing Poly at 2011 Spring Auction Lot.3023 on 2011-06-03.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Painter and Connoisseur Zhang Daqian means “True Authenticity”!
溥儒作由中國書畫名家及鑑賞家張大千題引首之 "青山白雲山水圖" 手卷名畫足可視為溥儒之真跡原作品.
++068++
Birds and Flowers
by Tang Yun. 唐雲作 "花鳥圖" H 98.5 x W 49.5 cm 直幅設色紙本鏡框
Ink and color on paper, mounted and framed, signed PAINTED BY TANG YUN OF HANGZHOU, inscribed THE ORCHID FLOWERS FOLLOW SPRING WIND AND BRING THEIR FLAVOR TO TABLE, SILENT BIRDS ARE SEEN TO HAVE FLOWN TO THE DOWNWARD GARDEN SUDDENLY, with two seals of the artist.
題識簽名: 蘭逐春風香到案, 幽禽忽見下庭來. 杭人唐雲畫.
二鈐印: 杭州唐雲, 唐雲印信.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of the artist in this fine painting are all the personal handwritings and signatures of Tang Yun. Thus it's “True Authenticity”!
在此幅名畫上之作者題識書法及簽名字跡, 皆為畫家唐雲的本人親自書寫筆跡及簽名, 故為真正.
Another sister "Birds and Flowers" painting (H 94 x W 56 cm, Ink on paper, Hanging scroll) with the same personal inscription handwritings and signature of Tang Yun was sold RMB CNY 220,000 ( USD 26,570 dollars) on 9/11/2005 at Beijing Rongbao Auctions Co., Ltd. Lot.0205 (The 52th Auction Period of Fine Works of Art). Tang Yun was excellent to paint flowers and birds just as this painting. The "Birds and Flowers" ( H 110 x W 56 cm, ink and color on paper, hanging scroll ) by Tang Yun dated 1978 was sold US 91,118 dollars at China Guardian Auctions Co., Ltd. 2011 Autumn Auction Lot. 339 on 9/17/2011. The birds and flowers painting "Mandarin Ducks in Spring River" ( H 124 x W 51.5 cm, ink and color on paper, hanging scroll ) by Tang Yun dated 1951 was sold US 96,450 dollars at Sotheby's ( Hong Kong ) 2011 Spring Auction Lot. 1229 on 4/5/2011.
與此幅名畫上之作者題識書法及簽名字跡完全相同之唐雲花鳥圖姊妹作 "蘭香引禽來 ( 又名: 春蘭幽禽 )" ( H 94 x W 56 cm 水墨紙本立軸 ) 於2005年9月11日在北京榮寶拍賣有限公司2005年北京榮寶書畫精品拍賣會 (第52期) 中國書畫 (二) 專場 Lot. 0205 售出人民幣 CNY 220,000 元 ( 美金 USD 26,570 元 ). 如此幅名畫, 唐雲擅於畫花鳥圖. 唐雲1978年作花鳥图名畫 "绣球小鸟" ( H 110 x W 56 cm 直幅設色紙本立轴 ) 2011年9月17日於中国嘉德国际拍卖有限公司嘉德四季第二十七期拍卖会中国书画（五）專場 Lot. 339 售出美金 91,118 元. 唐雲1951年作花鳥图名畫 "春水浴鸳鸯" ( H 124 x W 51.5 cm 直幅設色紙本立轴 ) 2011年4月5日於香港蘇富比有限公司2011年春季拍卖会中国书画專場 Lot. 1229 售出美金 96,450 元.
++069++
Flowers and Bird
by Zhao Shao’Ang dated 1945. 趙少昂1945年作 "花鳥圖" 立軸對屏 H 99.7 x W 50 cm x 2 幅 直幅設色紙本中堂懸掛立軸對屏 2 幅
Ink and color on paper, two hanging scrolls﹐double screen, both were signed ZHAO SHAO'ANG IN BA JUN RONG CHENG ( Chengdu City, Sichuan Province. ), both were inscribed NEW SPRING IN 1945, and both were with two seals of the artist.
題識簽名: 三四年新春, 少昂於巴郡蓉城 ( 四川成都 ). ( 2 幅相同 )
二鈐印: 少昂, 美意延年. ( 2 幅相同 )
如此立軸對屏名畫, 趙少昂擅於畫花鳥圖.
Zhao Shao’Ang was excellent to paint flowers and birds just as these double screen paintings in two hanging scrolls.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signatures of the artist in these two fine double screen paintings are all the personal handwritings and signatures of Zhao Shao’Ang. Thus they are both “True Authenticity”!
在此兩幅立軸對屏名圖上之作者題識書法及簽名字跡, 皆為畫家趙少昂的本人親自書寫筆跡及簽名, 故為真正.
++070++
Tall Willow Tree, Morning Cicada, Bamboos, and Little Bird, by Zhao Shao’Ang dated 1941. Ink and Colour on Paper, Hanging Scroll.
H 99 x W 50 cm
趙少昂1941年作 "高柳曉蟬竹葉小鳥圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 高柳曉蟬說西風消息 節民先生屬
三十年新春 少昂於洛陽
鈐印: 少昂, 美意延年 (二鈐印)
++071++
Landscape
by He Haixia dated 1993. 何海霞1993年作 "山水圖" H 94.5 x W 176.5 cm 橫幅設色紙本鏡片
題識: 八十五叟, 何海霞.
一鈐印: 何海霞.
何海霞 (1908 - 1998), 名瀛, 北京人. 1935年入 "大風堂" 成為張大千得意門生. 1950年代初, 何海霞輾轉來到古都西安, 與趙望雲, 石魯等共創了 "長安畫派", 何海霞先生擅长山水画. 1988年入英國 "世界名人錄". 1992年壬申84岁中國江泽民主席出访日本, 把他创作的 "黄山莲花峰图" 作为国礼赠送给日本前首相田中角荣. 1993年癸酉85岁創作此山水圖. 1994年甲戌86岁创作丈六匹青绿山水 "盛世海歌" 被北京饭店珍藏, 作六尺长泼色点金山水长卷, 为香港收藏. 1995年乙亥87岁在台湾举办 "何海霞, 何纪争, 曹湘秦家族画展".
Ink and Color on Paper, Mounted, signed HE HAIXIA, inscribed 85 YEARS OLD MAN, with one seal of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of the artist in this fine painting are all the personal handwritings and signature of He Haixia. Thus it's “True Authenticity”!
在此名圖上之作者題識書法及簽名字跡, 皆為畫家何海霞的本人親自書寫筆跡及簽名, 故為真正.
Hei Haixia (1908 - 1998), named Ying, was born in Beijing, China. In 1935, he entered "Dafengtang" to become an excellent painting student of Zhang Daqian. In early 1950s, he went to ancient city Xi An of China, created "Chang An Painting Party Group" together with painters Zhao Wangyun, Shi Lu,...etc. He Haixia was excellent to paint landscape paintings. In 1988, he was selected to enter British "Who’s Who in the World". In 1992 when he was 84 years old, Chairman Jiang Zemin of China visited Japan and presented the painting "Lotus Peaks of Mountain Huang" by He Haixia to ex-premier Kakuei Tanaka ( 1918 - 1993 ) of Japan as a national gift. In 1993 when he was 85 years old, He Haixia painted this landscape painting. In 1994 when he was 86 years old, his landscape painting "Glorious World and Sea Song" with width 160 cm was collected by Hotel Beijing, and his splashed color golden outlined landscape hand scroll painting "Landscape" with length 180 cm was also collected by collector in Hong Kong. In 1995 when he was 87 years old, He Haixia held a painting exhibition show in Taiwan together with painters He Jizheng and Cao Xiangqin Family.
++072++
Spring is coming to Southern Guangdong Landscape, by Guan Shanyue dated Autumn September 1979. Ink and Colour on Paper, Hanging Scroll.
H 69.3 x W 33 cm
關山月1979年秋九月作 "春到南粵山水圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 春到南粵 ㄧ九七九年秋九月 關山月於五羊城
鈐印: 關山月 (一鈐印)
++073++
A Small Table, Three Friends and Plum Blossoms
by Feng Zikai. 豐子愷作 "小桌三朋梅花圖" H 35.5 x W 26 cm 直幅設色紙本鏡框
Ink and color on paper, mounted and framed, signed PAINTED BY FENG ZIKAI, inscribed CALLING THREE FRIENDS TO SIT BESIDE A SMALL TABLE, ONE SIDE OF THE TABLE WAS RESERVED FOR PLUM BLOSSOMS, with one seal of the artist and one seal of the CHINESE ARTISTS ASSOCIATION.
題識簽名: 小桌呼朋三面坐, 留將一面與梅花. 子愷畫.
一鈐印: 子愷.
裱褙紙上一鈐印: 中國美術家協會.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of the artist in this fine painting are all the personal handwritings and signatures of Feng Zikai. Thus it's “True Authenticity”!
在此幅名畫上之作者題識書法及簽名字跡, 皆為畫家豐子愷的本人親自書寫筆跡及簽名, 故為真正.
This painting was published in "The Fine Painting Selections of Feng Zikai" (published by Zhan Pu Yuan in Singapore, 1st Edition on Aug. 1988, selected works of art by Feng Zikai from 1938 to 1946.), and also published in "The Paintings of Buddhist Life Saving" by Feng Zikai. The "Reading" ( H 29.5 x W 24 cm, ink and color on paper, mounted ) by Feng Zikai dated 1935 was sold US 93,240 dollars at Xiling Yinshe Auction Hangzhou China. 2011 "Members' Works of Art" Auction Lot. 57 on 7/16/2011. The "Walking in Spring" ( H 33.5 x W 27.6 cm, ink and color on paper, mounted and framed ) by Feng Zikai was sold US 63,378 dollars at Beijing ChengXuan Auctions Co., Ltd. Beijing China 2010 Autumn Auction Lot. 276 on 11/21/2010.
本幅名畫係著錄於 "丰子恺精品画集" (新加坡薝蔔院1988年8月初版，所收作品创作于1938年至1946年期间), 及豐子愷作 "護生畫集(护生画集)". 豐子愷1935年作 "讀書圖" ( H 29.5 x W 24 cm 直幅設色紙本鏡片 ) 2011年7月16日於中国杭州西泠印社拍卖有限公司西泠印社部分社员作品专场 Lot. 57 售出美金 93,240 元. 豐子愷作 "游春人在畫中行" ( H 33.5 x W 27.6 cm 直幅設色紙本鏡框 ) 2010年11月21日於中國北京北京诚轩拍卖有限公司2010年秋季拍卖会中国书画（二）專場 Lot. 276 售出美金 63,378 元.
++074++
Colorful Birds, Flowers and Plants
by Yan Bolong dated 1943. 顏伯龍1943年作 "彩鳥與花草小樹圖" 立軸四條屏 H 114.5 x W 33 cm x 4 幅 直幅設色紙本中堂懸掛立軸四條屏 4 幅
Ink and color on paper, four hanging scrolls﹐four screen quadruplets, all four paintings were signed CHANG BAI YAN BOLONG, inscribed AFTER THE PEOPLE IN YUAN DYNASTY AT CHUN CAO TANG IN THE NEW SPRING OF 1943, and each with two seals of the artist.
題識簽名: 癸未新春日 長白顏伯龍寫 (長尾青綠鳥圖)
癸未新春 長白顏伯龍寫於椿草 (艸) 堂 (長尾朱紅鳥圖)
癸未新春擬元人意 長白顏伯龍寫 (短尾青綠鳥圖)
癸未新春擬元人意 長白顏伯龍寫 (短尾土黃鳥圖)
二鈐印: 家龍書畫, 顏. ( 4 幅相同 )
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signatures of the artist in these four fine screen quadruplets hanging scrolls paintings are all the personal handwritings and signatures of Yan Bolong. Thus they are all “True Authenticity”!
在此四幅立軸四條屏名畫上之作者題識書法及簽名字跡, 皆為畫家顏伯龍的本人親自書寫筆跡及簽名, 故為真正.
Yan Bolong was excellent to paint Very Fine and Delicate Drawings of colorful flowers and birds just as these four screen quadruplets hanging scrolls paintings. The Very Fine and Delicate Drawings of colorful flowers and birds "Five Ethics" ( H 111 x W 51 cm hanging scroll ) by Yan Bolong dated 1949 was sold US 182,275 dollars at China Guardian Auctions Co., Ltd. 2011 Autumn Auction Lot. 1117 on 11/13/2011.
如此立軸四條屏名畫, 顏伯龍擅於畫工筆彩色花鳥圖. 颜伯龙1949年作五伦花鳥图 ( H 111 x W 51 cm 立轴 ) 2011年11月13日於中国嘉德国际拍卖有限公司2011秋季拍卖会食筍斋藏中国近现代书画專場 Lot. 1117 售出美金 182,275 元.
++075++
Two Beautiful Horses, by Aisin Gioro Pu Zuo dated 1985. Ink and Colour on Paper, Hanging Scroll.
H 85 x W 45 cm
愛新覺羅溥佐1985年作 "雙駿馬圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 乙丑冬至 愛新覺羅溥佐
鈐印: 溥佐長壽 (一鈐印)
++076++
Beautiful Flowers Attracting Bees
by Gao Yihong dated Oct.1960. 高逸鴻1960年10月上旬作 "群花爭艷招蜂圖" H 128 x W 60.5 cm 直幅設色紙本中堂懸掛立軸
題識: 庚子十月上澣作於蘭香館中, 高逸鴻.
二鈐印: 臨安高氏, 逸鴻.
Ink and color on paper, hanging scroll, signed GAO YIHONG, inscribed THE FIRST TEN DAYS IN OCT. 1960 PAINTED AT LAN XIANG GUAN, with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of the artist in this fine painting are all the personal handwritings and signature of Gao Yihong. Thus it's “True Authenticity”!
在此名圖上之作者題識書法及簽名字跡, 皆為畫家高逸鴻的本人親自書寫筆跡及簽名, 故為真正.
高逸鴻 (1908 - 1982) 為浙江臨安人, 別號蘭香館主, 上澣即上浣, 上旬, 前十日. 高逸鴻在藝術界名氣很大, 擅於畫花卉, 曾是故總統蔣經國先生的書畫老師. 1962年左右, 故總統蔣經國先生 [1910 - 1988, 中華民國國民黨政治家及黨魁, 為故總統蔣中正的兒子, 曾任中華民國行政院院長 (1972 - 1978), 後擔任第六任, 第七任中華民國總統（1978 - 1988) 直到逝世.] 每周都到高逸鴻家練字習畫.
Gao Yihong (1908 - 1982) was born at Lin An, Zhe Jiang, China, also named Master of Lan Xiang Guan (Art Gallery). Gao Yihong was well renowned in Taiwan art world. He was excellent in painting beautiful flowers. He was the Painting and Calligraphy Teacher of Late President Chiang Ching-kuo [蔣經國 蒋经国 Jiang Jingguo 1910 - 1988, Kuomintang (KMT) politician and leader, son of President Chiang Kai-shek, Premier of the Republic of China (ROC) between 1972 and 1978, and President of the Republic of China (ROC) from 1978 until his death in 1988.]. Late President Chiang Ching-kuo went to Gao Yihong's Lan Xiang Guan (Art Gallery) in order to learn how to paint and how to write calligraphy every week during year 1962 or so.
++077++
Golden Outlined Red Lotus and Double Mandarin Ducks, by Zhang Daqian dated 1979.
H 118 x W 66.5 cm
張大千1979年作 "愛清氣金碧紅荷花鴛鴦嘉耦潑彩圖" 直幅設色紙本中堂懸掛立軸
++078++
Flowers and Birds, by Tian Shiguang.
H 126 x W 32.5 cm
田世光作 "花鳥圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 擬宋人筆法寫此, 田世光于北京柳浪庄上.
鈐印: 公煒 (一鈐印)
++079++
Landscape, by Yan Songnian dated 1948.
H 96.5 x W 43.5 cm
袁松年1948年作 "山水圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 聲喧亂石中, 色靜深松裏. 戊子初秋寫王韵青谿詩意於春申浦 袁松年.
鈐印: 松年延壽 (一鈐印)
備註: 春申浦為黃浦江, 今上海市. "聲喧亂石中, 色靜深松裏." 引自唐朝詩人王維所作唐詩 "青溪" 之詩意內容.
++080++
Seven Character Calligraphy Couplet, by Wu Hufan dated 1947.
H 134 x W 33.5 cm x 2 幅
吳湖帆1947年作 "七言書法對聯" 直幅水墨紙本中堂懸掛立軸
題識簽名: (上聯) 花徑不曾緣客掃, (下聯) 蓬門今始為君開. 丁亥夏四月 吳湖帆 (下聯).
鈐印: 吳倩湖騷, 倩氏. (二鈐印) (下聯)
++081++
Flowers and Bamboos, by Gao Qifeng dated 1917.
H 133 x W 32.5 cm
高奇峰1917年作 "花竹圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 丁巳新秋奇峰高翁(翁字左邊山旁)客滬之作.
鈐印: 嶺南高翁(翁字左邊山旁) (一鈐印)
++082++
Wild Geese under Willow Shadow, by Chen Zhifo dated 1916.
H 129 x W 63 cm
陳之佛1916年作 "柳蔭雁鴨圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 丙辰秋月. 陳之佛.
鈐印: 陳之佛印. (一鈐印)
++083++
Flowers and Birds, by Chen Banding.
H 129 x W 63.5 cm
陳半丁 ( 陳年 ) 作 "花鳥圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 陳年寫.
鈐印: 陳漁之印 (一鈐印)
++084++
Landscape, by Feng Chaoran dated 1939.
H 91 x W 171.5 cm
馮超然1939年作 "山水圖" 橫幅水墨設色紙本橫軸
題識簽名: 己卯秋七月於嵩山草堂, 愼得居士馮超然并記.
鈐印: 愼得, 超然畫記. (二鈐印)
++085++
Seven Character Calligraphy Couplet, by Zhang Daqian dated 1963.
H 136.6 x W 33.5 cm x 2 幅
張大千1963年作 "七言書法對聯" 直幅水墨紙本中堂懸掛立軸
題識簽名: (上聯) 秋風古道題詩瘦, (下聯) 落日平原縱馬高. 癸卯夏 大千張爰 (下聯).
鈐印: 長共天難老, 以介眉壽. (二鈐印) (上聯), 西川張爰, 金石同壽. (二鈐印) (下聯).
備註: 此書法對聯為于右任於1963年擔任中華民國監察院長時與張大千互換書法對聯之作品(存世不多), 現收藏家為直接購自于右任家族第三代並加以新裱而保存至今.
++086++
High Mountain and Deep Cloud, by Zhang Daqian dated 1946.
H 129 x W 65 cm
張大千1946年作 "山高雲深山水圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 丙戌嘉平月, 大千張爰.
鈐印: 張爰私印, 大千, 大風堂. (三鈐印)
++087++
Lion and Eagle, by Xu Beihong dated 1942.
H 135.5 x W 67.5 cm
徐悲鴻1942年作 "獅子老鷹圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 縱橫逸事造風雷 壬午夏日 悲鴻寫
鈐印: 江南布衣, 悲鴻之畫, 吞吐大荒. (三鈐印)
++088++
Prolonging Life, Auspicious Cranes, Ganoderma Lucidum Fungus, by Xu Beihong dated 1937.
H 135 x W 67.5 cm
徐悲鴻1937年作 "祥鶴靈芝延年益壽圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 二十六年六月, 悲鴻.
鈐印: 悲鴻之畫, 東海王孫, 真宰上訴. (三鈐印)
++089++
Golden Outlined Landscape, by Zhang Daqian dated 1946.
H 129.5 x W 65 cm
張大千1946年作 "金碧山水圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 碧水春風醉古山, 丙戌嘉平月, 大千張爰.
鈐印: 張爰之印, 大千居士, 大風堂. (三鈐印)
++090++
Lady with a Fan and Bamboos in Splashed Colors, by Zhang Daqian dated 1963 and splashed in 1980.
H 129.5 x W 63 cm
張大千1963年 ( 潑彩1980年 ) 作 "潑彩竹葉紈扇仕女圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 癸卯三月, 大千居士爰.
鈐印: 張爰私印, 大千, 摩耶精舍. (三鈐印)
備註: 張大千1980年於台北外雙溪摩耶精舍將其於1963年癸卯年所繪製之 "竹葉紈扇仕女圖" 加上潑彩添畫而成, 並在畫面左下角潑彩處鈐上 " 摩耶精舍 " 之新印文, 因此畫面上1963年作仕女圖之舊墨色即為明顯與1980年作之潑彩新墨色有所差異.
Remarks: Zhang Daqian added Splashed Colors upon his old painting "Lady with a Fan and Bamboos dated 1963" in 1980 at his Taipei Waishuangqi home Moyejingshe, and affixed a new seal "Moyejingshe" on the lower left-hand side of the splashed painting area. Thus the ink color of old Lady painting dated 1963 has a major difference with that of newly splashed ink in 1980.
++091++
High Mountains and Flowing Waters Landscape, by Huang Junbi dated Dec.1938.
H 133.5 x W 65.5 cm
黃君璧1938年12月作 "高山流水山水圖" 直幅設色紙本中堂懸掛立軸
題識: 高山流水, 戊寅嘉平, 嶺南黃君璧.
一鈐印: 黃君璧印.
備註: 黃君璧與張大千, 溥儒 ( 溥心畬 ) 號稱 "渡海三大名家". "高山流水" 出自 "列子. 湯問": 春秋時楚國的伯牙善於彈琴, 好友鍾子期能夠聽出他琴音裡所要表達的心意. 而文中 "志在登高山", "志在流水" 二語, 就被濃縮成 "高山流水", 用以形容樂曲的高妙, 後來人們就用它來比喻 "知音" 之意.
Remarks: Huang Junbi and Zhang Daqian, Pu Ru ( Pu Xinyu ) were called "Three Famous Artists came across the sea from China to Taiwan". The title of this painting "High Mountains and Flowing Waters Landscape" was derived from an ancient historical story recorded in a book named "Lie Zi - Tang Wen": During the Epoch of Spring and Autumn China from 770 B.C. to 476 B.C., a musician called Bo Ya in Nation Chu was excellent to play Chinese fretted musical instrument with five or seven strings, and his good friend Zhong Ziqi could always understand his true mind of expression to play by listening to the music sounds. Thus the two sentences "To have an ambition to climb High Mountains" and "To have an ambition to take a trip via Flowing Waters" written in the article of the story were combined to form new Chinese words "High Mountains and Flowing Waters" as an idiom to describe "Excellent Music" or "A Close or Intimate Friendship with Mutual Understanding".
++092++
Orchids Bamboos and Rocks
by Zheng Banqiao dated 1764. 鄭板橋1764年作 "蘭竹石圖" H 65 x W 67 cm 橫幅水墨紙本鏡片
Ink on Paper, Mounted, signed Banqiao Zheng Xie, inscribed ARTICLES THAT OPEN AND OVERTHROW HEAVEN AND EARTH, WORDS THAT SHOCK AND FRIGHTEN LIGHTNING AND THUNDER, TALKS THAT SCORE AND BLAME GOD AND GHOST, A PAINTING THAT HAS NOT BEEN EXISTED IN THE PAST AND WILL NOT BE DONE IN THE NEAR FUTURE, ARE ALL NOT ON THE USUAL ROUTE OR COMMON WAY. NEVER TO HAVE A STYLE BEFORE YOU START TO PAINT AND NEVER TO HAVE A STYLE LEFT AFTER YOU FINISH A PAINTING, dedicated QIANLONG JIASHEN (QIANLONG YEAR 29 A.D. 1764) PAINTED FOR MAO LIN NIAN XUE BROTHER TO INSTRUCT, with two seals of the artist and one authenticity appreciation seal of Yangzhou City Museum.
尺寸: 高 H 65 x 寬 W 67 cm 約4平尺
年代: 清乾隆甲申年1764年鄭板橋72歲時 (at the age of 72 years old).
題識簽名: 掀天揭地之文, 震電驚雷之字, 呵神罵鬼之談, 無古無今之畫, 固不在尋常蹊徑中也. 未畫以前, 不立一格; 既畫之後, 不留一格. 乾隆甲申為茂林年學兄哂正. 板橋鄭燮.
二個鈐印: 鄭爕, 鄭風子.
一個鑑藏印: 揚州市博物館鑑藏.
著錄 Publications:
鄭板橋年譜 (鄭板橋集) The biography of Zheng Banqian written in chronological order by "The Biography of Zheng Banqian".
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品).
Authenticity:
Through the careful comparison and analysis with " The Seals and Signatures of Zheng Banqiao " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China, the seals and signature of the artist in this fine painting are both the personal seals and signature of Zheng Banqiao. Thus it's “True Authenticity”!
經由與中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 鄭板橋落款与印鉴 " 精細比對分析, 在此幅名畫上之作者題識簽名字跡與鈐印, 為畫家鄭板橋的本人親自書寫筆跡及簽名印鑑, 故為真正.
The highest auction hammer price record of " Orchids Bamboos and Rocks " paintings by Zheng Banqiao was as follows:
(1) The " Bamboo and calligraphy " ( H 186.5 x W 96.0 cm, ink on paper, hanging scroll. ) by Zheng Banqiao dated 1756 was sold US 6,176,000 dollars at Beijing Council International Auctions Beijing China 2011 Spring Auction Lot. 1059 on 06/07/2011.
鄭板橋作蘭竹石圖的最高落槌拍賣紀錄如下:
(1) 鄭板橋1756年作 " 竹石兰蕙图 " ( 高 186.5 x 寬 96.0 cm, 水墨紙本立轴 ) 2011年6月7日於中国北京北京匡时国际拍卖有限公司2011春季艺术品拍卖会扬州画派作品专场 Lot. 1059 售出美金 US 6,176,000 元.
++093++
Splashed Color Golden Outlined Red Lotus on Gold Sheet
by Zhang Daqian dated 1979. 張大千1979年作 "金箋潑彩描金紅荷花圖" H 97 x W 242.5 cm 橫幅設色金箋鏡片
Ink and color on gold sheet, Mounted, signed 81 YEARS OLD MAN YUAN, inscribed RAINS ARE FALLING UPON THE RED WINDOW FENCE WHEN YELLOW MOON COMES OUT, THE FIRST TRYING ON NEW SILK CLOTHES LET YOU FEEL ANCIENT FIVE DOLLARS LIGHT. THE WORDS THAT YOU ARE SLIGHTLY COMPLAINING OF GREEN PENDANTS AND RED COSMETICS, ARE NOT FIT FOR THE LOVELY AFTER-BATH AFFECTION OF THE EMPEROR'S CONCUBINE NAMED JIANG, YEAR 1979 JI WEI SUMMER MONTHS AT RESIDENCE MOYEJINGSHE, with six seals of the artist.
尺寸: 高 H 97 x 寬 W 242.5 cm 約 21.60 平尺
題識簽名: 朱闌遍雨黃月生, 綃衣初試五銖輕, 稍嫌翠珮紅粧句, 不稱江妃出浴情. 六十八年己未夏月摩耶精舍, 八十一叟爰.
六個鈐印: 張爰之印, 大千父, 摩耶精舍, 三千, 張爰之印, 環蓽盫.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Through the careful comparison and analysis with " The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China, the seals and signature of the artist in this fine painting are both the personal seals and signature of Zhang Daqian.
The inscriptions of Zhang Daqian in this painting are the same as those 28 words in "Lotus" by Zhang Daqian dated 1963 (H 67 x W 132 cm, mounted, Auction Record: Christie's Hong Kong 1998 Spring Auction Lot. 070 on 04/26/1998.).
Besides the inscriptions of Zhang Daqian in this painting are also the same as those 26 words in "Lotus" by Zhang Daqian dated 1981 (H 45.5 x W 132 cm, mounted and framed, Auction Record: Sold USD 206,400 dollars at Christie's Hong Kong 2012 Autumn Auction (2) Sale 2961 / Lot. 1261 on 11/27/2012.). Thus it’s “True Authenticity”!
經由與中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 張大千落款与印鉴 " 精細比對分析, 在此幅名畫上之作者題識簽名字跡與鈐印, 為畫家張大千的本人親自書寫筆跡及簽名印鑑, 故為真正.
本名畫之題識 "朱闌遍雨黃月生, 綃衣初試五銖輕, 稍嫌翠珮紅粧句, 不稱江妃出浴情." 28 個文字,與佳士得（香港）有限公司 1998 年 4 月 26 日 1998 年春季拍卖会 Lot.070 之張大千 1963 年作 "荷花圖"(H 67 x W 132 cm 橫幅水墨設色紙本鏡心)之題識 28 個文字完全相同.
且本名畫之題識 "朱闌遍雨黃月生, 綃衣初試五銖輕, 稍嫌翠珮紅粧句, 不稱江妃出浴情." 中之 26 個文字,又與佳士得（香港）有限公司 2012 年 11 月 27 日 2012 年秋季拍卖会 (二) Sale 2961 / Lot. 1261 ( 拍賣成交價: 美金 206,400 元 ) 之張大千 1981 年作 "碧荷圖"(H 45.5 x W 132 cm 橫幅設色紙本鏡框)之題識中 26 個文字完全相同, 故為真正.
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Antiques 古董
=======================================
++001++
The Bronze Money-Shaking Fortune Tree of Qing Dynasty China
中國清朝青銅 "搖錢樹"
H 31.5 cm x W 23 cm
Year: 1875
STRUCTURE: 3 Blood Sucking Bats (吸血蝙蝠),1 Money-Shaker (搖錢人),1 Long-Live-and-Good-Fortune (長命富貴) Coin,1 Tongzhi Coin (同治通寶,1862-1874),17 Shunzhi Coins (順治通寶,1644-1661).
This work of art designed with 3 Blood Sucking Bats and 1 Money-Shaker was to be specialized for the nation-wide Treasure-Hunting with expedition.
The last trading transaction record of the only unique one for another "Bronze Money-Shaking Fortune Tree" was USD 2.5 millions purchased by an American Billionaire lived at the fifth grand avenue, New York,U.S.A. from a Belgian dealer in March 1998.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品)!
Authenticity:
The tree’s root part is as sharp as the royal sword weapon of Qing Government. The diameter of the Money-Coins is 3 cm (used inside the Qing Imperial Palace 清宮內廷 only),not 2.6 cm circulated.
This bronze work of art was belonged to the royal family member of Qing Dynasty, because the diameter of 18 Money-Coins on the tree is 3 cm wide (used inside the Qing Imperial Palace 清宮內廷 only), not 2.6 cm of those coins that were circulated in the domestic market of Qing Dynasty. Fulin was the Shunzhi Emperor (1644-1661).
此中國清朝青銅 "搖錢樹" 原為清朝皇室家族成員所有, 搖錢樹上之18個錢幣皆為直徑3公分寬, 係清宮內廷專用錢幣, 並非是清朝國內市場上所流通之直徑2.6公分寬通用錢幣.
++002++
A Gilt-Bronze Sitting "Guanyin Bodhisattva" Figure A.D. 740 - A.D. 800 Tang Dynasty China H 40.5 x W 23 x L 19 cm 9360 g
西元740年至800年中國唐朝 "銅鎏金觀音菩薩坐像"
西元740年至800年中國唐朝 "銅鎏金觀音菩薩坐像"
Year: A.D. 740, Chinese Lunar Year Gengchen, Emperor Tang Xuan Zong Kai Yuan 28th year, Tang Dynasty China, or A.D. 800, Chinese Lunar Year Gengchen, Emperor Tang De Zong Zhen Yuan 16th year, Tang Dynasty China.
Inscription (銘文):鴻簋藝品 庚辰年拜塑, A WORK OF ART FOR PROMOTING TEMPLEWARE, PRAY AND SCULPTURE IN YEAR GENGCHEN.
This work of art has very clear and deep soakage color of aged bronze in Tang Dynasty China. After comparing with the exhibitions in world-wide museums, the semi-seated attitude, full and round cheeks, splendid clothes and decorations can all verify its age in Tang Dynasty China. The Chinese character (簋 GUI) in the inscription was an ancient word and templeware used by ancient Chinese from Shang Dynasty (1600 B.C. - 1046 B.C.) until Tang Dynasty. In fact, this character (簋 GUI) is the same as Yin (殷) that means the dynasty of Shang Dynasty.
This work of art has also the same semi-seated attitude, full and round cheeks, splendid clothes and decorations as a Color-painted Carved Wood Sitting Guanyin Bodhisattva Figure (H 200 cm) Song Dynasty（960-1279）collected in National Museum of China, thus it’s "True Authenticity"!
西元740年至800年中國唐朝 "銅鎏金觀音菩薩坐像"
Size (尺寸): H 40.5 x W 23 x L 19 cm (公分)
Weight (重量): 9360 Grams (公克)
Weight (重量): 9360 Grams (公克)
年代: 西元740年庚辰年中國唐朝唐玄宗開元28年, 或西元800年庚辰年中國唐朝唐德宗貞元16年.
銘文:鴻簋藝品 庚辰年拜塑.
銘文:鴻簋藝品 庚辰年拜塑.
此工藝品具備有非常清楚與深沉的中國唐朝古老青銅沁色. 經過與世界各國博物館內的展示品比對後, 其半坐姿勢, 圓潤雙頰, 與華麗服飾皆可證明應為中國唐朝時期作品. 銘文上之 "簋 GUI" 字為從中國商朝 (1600 B.C. - 1046 B.C.) 至唐朝時期所使用之古文字及祭祀用品. 事實上 "簋 GUI" 字即為 "殷 YIN" 字, 代表中國商朝.
此工藝品亦與中國國家博物館館藏之宋朝（960-1279年）彩绘木雕观音菩萨坐像 (高 200 cm) 具備有相同之半坐姿勢, 圓潤雙頰, 華麗服裝與紋飾, 證明為真正!
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A Carved Archaic White Jade "Pig-and-Bird-Winged Dragon (Winged Mythical Beast)" of 4700 B.C. - 2000 B.C. Hong-shan Culture in Northern China
中國北方紅山文化時期 "古白玉雕豬鳥翼形龍"
It has been soaked with deep "Yellow-loess Soakage Colour" and has calcification at the rear of sculpture over the past thousands years. This work of art could be described as the earliest "Abstract Sculpture" created by mandkind in the world!
The carving of this beautiful work of art in 4700 B.C.-2000 B.C. Hong-shan Culture Northern China by Archaic White Jade (Ancient Old Jade) was still quite primitive.
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
西元前4700年至西元前2000年中國北方紅山文化時期 "古白玉雕豬鳥翼形龍"
Year: 4700 B.C. - 2000 B.C. Hong-shan Culture in Northern China
Weight: 1597 Grams
Size: H 17.5 x W 10.5 x D 6 cm
年代: 西元前4700年至西元前2000年中國北方紅山文化時期
重量: 1597 公克
尺寸: H 17.5 x W 10.5 x D 6 cm
此藝術品已經具備有數千年之久的深度 "黃土沁色" 及其背部鈣化風化現象. 可說是世界上人類所創造的最早期 "抽象派雕塑品".
此西元前4700年至西元前2000年中國北方紅山文化時期的古白玉雕美麗藝術品, 其雕刻仍然甚為原始!
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
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A Carved Archaic White Jade "Persian Face Elephant" Puzzle 206 B.C. - 220 Han Dynasty China
H23.5 x W21 x L0.6 cm 482 g
西元前206年至西元220年中國漢朝時期 "古玉雕波斯人面大象紋益智拼圖"
This work of art is the earliest White Jade carved "Elephant Puzzle" ever found in the history.
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
Authenticity:
The carvings and drillings of this work of art were not made by modern machine tools,but using the popular "double parallel lines" carvings in Han Dynasty China. The historic famous "Silk Road" was just developed in Han Dynasty China to pass by Persian Empire (Iran),India,and reach Western World further.
西元前206年至西元220年中國漢朝時期 "古玉雕波斯人面大象紋益智拼圖"
Size (尺寸): H 23.5 x W 21 x L 0.6 cm (公分)
Weight (重量): 482 Grams (公克)
Year: 206 B.C. - 220 Han Dynasty China
年代: 西元前206年至西元220年中國漢朝時期.
此精美工藝品為歷史上所發現之最早期的白玉刻 "大象紋益智拼圖".
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
此精美工藝品的彫刻及鑽洞並非是使用現代的機械工具, 而是利用中國漢朝時期所常用之 "雙溝平行線紋" 雕法. 歷史上著名的 "絲路" 正是於中國漢朝時期開闢, 經由波斯帝國 (伊朗), 印度, 更遠達西方世界.
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A Carved Archaic Green Jade "Sword" Token of Imperial Authority by Emperor 1600 B.C. - 1046 B.C. Shang Dynasty China
H 15 x W 4.8 x L 1.1 cm 157 g
西元前1600年至西元前1046年中國商朝時期 "殷商帝王用古青玉雕玉劍令牌"
殷商甲骨文銘文:
(一面) 己匕乃三司兵(己身上匕劍為左中右三師司令).
(另一面) 匕示呼佐左(出示匕劍即呼召命令佐助商王左軍).
Inscription in Oracle bone script of Shang Dynasty China:
(One Side) THIS SWORD TOKEN REPRESENTS COMMANDER IN CHIEF OF THE LEFT, MIDDLE, RIGHT ARMY DIVISIONS.
(Another Side) ONCE THIS SWORD TOKEN IS SHOWN, YOU ARE COMMANDED TO BE LEFT ARMY BY KING OF SHANG.
Authenticity:
The carvings and drillings of this work of art were not made by modern machine tools,but using the popular "Handmade Relief Carvings" in ancient China. This work of art has also very clear and deep soakage colour of aged green jade in ancient China. The Chinese characters in the inscription were Oracle Bone Scripts that were ancient words used by Chinese in Shang Dynasty (1600 B.C. - 1046 B.C.) China. Thus it’s "True Authenticity"!
西元前1600年至西元前1046年中國商朝時期 "殷商帝王用古青玉雕玉劍令牌"
Size (尺寸): H 15 x W 4.8 x L 1.1 cm (公分)
Weight (重量): 157 Grams (公克)
Year: 1600 B.C. - 1046 B.C. Shang Dynasty China
年代: 西元前1600年至西元前1046年中國商朝時期
This work of art is the earliest Archaic Green Jade carved "Sword Token of Imperial Authority by Emperor" ever found in the history.
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
此精美工藝品為歷史上所發現之最早期的青玉刻 "帝王用古玉雕玉劍令牌".
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
此精美工藝品的彫刻及鑽洞並非是使用現代的機械工具, 而是利用中國古代的 "手工浮雕法".
此工藝品亦具備有非常清楚與深沉的中國古老青玉沁色.
而銘文上之甲骨文字為中國商朝時期 (1600 B.C. - 1046 B.C.) 所使用的古老文字, 故為真正.
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A Carved Archaic Jade "Fish" Wine-Cup 1046 B.C. - 771 B.C. Western Zhou Dynasty China
西元前1046年至西元前771年中國西周時期 "古玉雕魚形酒杯"
Size: H 20 x W 15 cm
Year: 1046 B.C. - 771 B.C. Western Zhou Dynasty China
年代: 西元前1046年至西元前771年中國西周時期
The carving of this beautiful work of art in 1046 B.C. - 771 B.C. Western Zhou Dynasty China by Archaic Jade (Ancient Old Jade) was still quite primitive.
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
此西元前1046年至西元前771年中國西周時期的古玉雕美麗藝術品, 其雕刻仍然甚為原始!
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
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A Carved Archaic Red Jade Military Token of Imperial Authority by Emperor 1644 –
1911 Qing Dynasty China
H 10.5 x W 5.9 x L 1.0 cm 162 g
西元1644年至西元1911年中國清朝時期 "清朝皇帝用古紅玉雕軍事玉令牌"
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
Authenticity:
The carvings and drillings of this work of art were not made by modern machine tools,but using the popular "Handmade Relief Carvings" in ancient China. This work of art has also very clear and deep soakage colour of aged red jade in ancient China. The inscriptions on both sides were all in Manchu Tungus Characters used by the Emperor of Qing. Thus it’s "True Authenticity"!
西元1644年至西元1911年中國清朝時期 "清朝皇帝用古紅玉雕軍事玉令牌".
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
此精美工藝品的彫刻及鑽洞並非是使用現代的機械工具, 而是利用中國古代的 "手工浮雕法". 而此工藝品亦具備有非常清楚與深沉的中國古老紅玉沁色.
兩面銘文上之文字皆為中國清朝時期 (1644 - 1911) 皇帝所使用的滿文文字, 故為真正.
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A Carved Archaic Sheep-Fat-Oily Mutton Fat White Jade "Linking Clouds" Royal Dragon Pendant 206 B.C. - A.D. 25 Western Han Dynasty China H 4.4 x W 6.7 x D 1 cm 56 g
西元前206年至西元25年中國西漢朝時期 "古羊脂白玉透空圓雕漢朝皇室用勾連雲紋龍形珮"
Size and Weight (尺寸及重量): 高 H 4.4 x 寬 W 6.7 x 厚 D 1 cm 56 公克 g
年代: 西元前206年至西元25年中國西漢朝時期
Authenticity:
The carvings of this beautiful work of art in Western Han Dynasty China by Archaic Mutton Fat White Jade (Ancient Old Jade) were still quite primitive and not made by modern machine tools, but using the popular "Handmade Penetrating Round Volume Sculpture Carvings" in ancient China. The carving techniques of this work of art were made simply, clearly, skillfully, and smoothly upon a thick and solid jade, and the incised feminine totem lines of linking clouds in flowers and double parallel lines were all the popular jade carving techniques and decoration totems used in Western Han Dynasty China.
Sheep-Fat-Oily Mutton Fat White Jade was the only privilege of ancient Emperors' family.
This work of art has also very clear and apparent slight yellow loess soakage color in the skin as the aged Sheep-Fat-Oily Mutton Fat White Jade in ancient China. Thus it’s "True Authenticity"!
Jades are beautiful semi-translucent precious stones that are denser than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
"Archaic Sheep-Fat-Oily Mutton Fat White Jade" was the gem class jade of best quality in Han Dynasty China. But the modern people have never seen it before. It was the only privilege of ancient Emperors' family in Han Dynasty China. The work of art made by this jade was left scarcely and has been seen rarely in this world. Its color is as that of sheep fat and has oily shining luster. Its inner jade muscular tissue contents have semi-boiled rice phenomena existing in the natural ancient archaic old jades. Nevertheless the jades those were carved in Ming Dynasty, Qing Dynasty, and Modern China have no such phenomena. It looks like foggy translucent due to oily mutton fat appearance, while white jade looks different in this respect. Its oily white shining luster is seen with slight yellow light. It's oily and solid, translucent and clean, white and without cracks, just like solidified sheep mutton fat. Its skin has no deceiving glass light, thus can be slightly varied after the long-term wear attached to human skin by its owner.
This fine work of art (H 4.4 x W 6.7 x D 1 cm 56 g) was carved with the same "Archaic Sheep-Fat-Oily Mutton Fat White Jade" as that used in "Western Han Queen's Seal" (H 2 x W 2.8 x D 2.8 cm 33 grams ) collected by Shaanxi History Museum, Shaanxi Province, China.
Even if the "Archaic Sheep-Fat-Oily White Jade" (also named as "Archaic Mutton Fat White Jade") has been buried in the water and earth for more than 2000 years, it is only slightly soaked in skin parts and still the same smooth, shiny, oily as before due to its solid and dense quality. This is its very precious value never to be broken over thousands of years and the main reason why it is classified as gem class valuable precious stone. The "Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Western Han Queen's Seal" (Weight 33 g) collected by Shaanxi History Museum, Shaanxi Province, China, and this "Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Western Han Dynasty Linking Clouds Royal Dragon Pendant", both have been buried in the water and earth for more than 2000 years, but they are only slightly soaked in skin parts and still the same smooth, shiny, oily as before due to its solid and dense quality. This proves their very precious value never to be broken over thousands of years and the main reason why the works of art carved by Sheep-Fat-Oily Mutton Fat White Jade have been always classified as gem class valuable national treasures.
This work of art has incidentally been soaked in its tail skin part to become "dark brown". Thus it's also a very beautiful jade carved work of art with rather rare "Wonderful and Amazing Soakage - An Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Lovely Sheep Horn Dragon with Dark Brown Tail" existing in the world nowadays.
The reasons why the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” is classified as gem class valuable precious stone and the works of art carved by this jade have been always classified as gem class valuable national treasures are as follows:
(1) Never to be destroyed in the water and earth even buried for thousands of years: The hardness, solidness and firmness of the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” are better than steel, iron, and other kinds of jades. The discovered ones prove that even if having been buried in the water and earth for 2000 years, they are still the same smooth, shiny, oily as before with the same sheep fatlike oily luster as their original carvings, and never to be destroyed. These jades are really the best research and development objects of the material engineering science in the world.
(2) The beautiful characteristic semi-translucent nature shown like the changeable skin color of a lizard: Due to their natural semi-translucent character, once these jades are placed in front of backgrounds of different colors, the gorgeous colors shown by these jades are to be changed accordingly. Thus they are amazingly beautiful!
(3) Scarcity of discovery, dense and tiny cubic volume, nevertheless bigger than diamond, can be carved into fine works of art by ancient Chinese: The formation of the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” is under the same pressure coefficient from the crust of the earth as diamond on account of its solid and dense characters. Thus these jades are scarce and rare with dense and tiny cubic volume. Nevertheless they are still bigger than diamonds. Diamonds are not to be carved into fine works of art in different shapes full of variety by mankind, but these jades can be done. These archaic jades prove that even 2000 years ago, ancient Chinese had already developed the high technology to carve these extremely firm and hard “Archaic Sheep-Fat-Oily Mutton Fat White Jades” into fine and beautiful works of art for the Imperial Emperor to appreciate the art.
(4) The Legend and Myth Stories of Jade Carved Works of Art done for thousands of years are always forever and forever to Chinese, and never to be ended: In ancient society of China, lots of Legend and Myth Stories of Jade Carved Works of Art done for thousands of years, such as their protections upon their owner master's body good health, their collections of good lucks and fortunes in behalf of their owner master,...etc, have generally provoked Chinese directly to take great interests in the Jade Carved Works of Art owned by the ancient imperial royal family of the Emperor thousands of years ago. This is the so-called Chinese psychological historical affections upon these Archaic Ancient Old Jades that have been done for thousands of years.
(5) Due to their extremely valuable prices, nevertheless in very tiny cubic volume, easy to be carried by human body in transit and easy to be concealed or hidden from enemies, not to be damaged over thousands of years, have made these Jade Carved Works of Art to become the best haven investment commodity in ancient China: In ancient China, the First Emperor of Qin Dynasty ever tried to exchange his 15 cities for a famous Jade carved work of art called He-Shi-Bi from the Nation Zhao in the historical record. This proves that the Archaic Ancient Old Jades that have been done for thousands of years have been always the substitutes for the most valuable and expensive, high end, strongest currency since the ancient times until now. They are shaped into very tiny cubic volume, easy to be carried by human body in transit and easy to be concealed or hidden from enemies, as well as not to be damaged over thousands of years. Thus these inherent natural features have benefited these Jade Carved Works of Art that have been done for thousands of years to become the best haven investment commodity in ancient China, no matter when it was in peaceful or warring times.
This fine work of art was carved with extremely smooth "His Imperial Majesty Dignity of Han Emperor's Family and an Appearance of King's Family" by the excellent imperial jade carving master in Western Han Dynasty China. This is absolutely not to be done and copied by modern carvings.
西元前206年至西元25年中國西漢朝時期 "古羊脂白玉透空圓雕漢朝皇室用勾連雲紋龍形珮"
Size and Weight (尺寸及重量): 高 H 4.4 x 寬 W 6.7 x 厚 D 1 cm 56 公克 g
年代: 西元前206年至西元25年中國西漢朝時期
此西元前206年至西元25年中國西漢朝時期的古羊脂白玉雕美麗藝術品, 其雕刻仍然甚為原始! 並非是使用現代的機械工具, 而是利用中國古代的 "手工透空圓雕法". 此 "古羊脂白玉透空圓雕漢朝皇室用勾連雲紋龍形珮" 之雕琢厚實, 簡練, 流暢, 其陰線花式勾連雲紋與雙平行線紋皆為中國西漢朝時期的常用玉雕技法與紋飾, 且羊脂白玉為中國古代皇帝家族之特權專用玉, 而此工藝品之玉皮上, 亦具備有非常清楚與明顯的中國古老羊脂白玉黃土微沁色, 故為真正.
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
"羊脂白玉" 為中國漢朝時期玉中寶石級極品, 但現代人卻從未見過, 為漢朝皇帝家族專用玉, 存世極為稀少, 亦極為罕見. 此玉色若羊脂, 具油脂性光澤, 玉之肌裡有天然古玉的飯滲現象, 而明清及現代玉則無. 因水頭足而呈霧狀之半透明狀, 此點與白玉略有不同. 油脂光澤白色中則透出微微黃色, 溫潤堅密, 瑩透純淨, 潔白無瑕, 如同凝脂. 玉皮無玻璃賊光, 皮色可因主人之長期盤玉而起微微變化.
此精美工藝品 (高 4.4 x 寬 6.7 x 厚 1 公分 cm 56 公克 g) 係使用與中國陝西省陜西歷史博物館的館藏 "西漢皇后之璽" (高 2 x 寬 2.8 x 厚 2.8 公分 cm 33 公克 g) 相同之 "羊脂白玉" 所刻成.
"羊脂白玉" 縱使被浸泡在水土中保持 2000 餘年, 因其質地硬密, 也只是皮色微沁, 卻溫潤如初, 這就是它千年不壞的可貴之處, 也正是它屬寶石級的貴重價值所在之主要原因. 中國陝西省陜西歷史博物館的館藏 "古羊脂白玉雕西漢皇后之璽 (重 33 g 公克)" 與此件 "古羊脂白玉透空圓雕漢朝皇室用勾連雲紋龍形珮 (重 56 g 公克)" 皆為入土 2000 餘年, 因質地硬密, 也只是皮色微沁, 卻溫潤如初, 充分證明羊脂白玉千年不壞的可貴之處及其藝術品皆被當作是寶石級珍貴國寶的主要原因.
而此精美工藝品剛好在 "龍尾端" 之一部皮色微沁成 "深棕色", 成為現今存世極為罕見的 "巧沁色 - 羊脂白色的可愛玉羊角龍帶著深棕色的龍尾端" 玉製品.
古羊脂白玉雕藝術品皆被當作是寶石級珍貴國寶的主要原因為:
(1) 入土千年不毀壞: 古羊脂白玉之堅硬及強韌度遠勝過鋼鐵與其他類玉種, 出土古羊脂白玉證明其入土 2000 餘年卻仍然溫潤如初, 油脂光澤如故, 並未毀壞, 是世界上材料工程科學的最佳研究開發目標.
(2) 如蜥蝪變色龍般的半透明天然美麗特質: 因為古羊脂白玉是天然半透明的, 所以當背景色系變化時, 古羊脂白玉所顯示的天然絢麗色彩亦隨著變化, 令人驚歎不已.
(3) 數量稀少, 體積不大, 卻比鑽石大, 可供古代中國人雕琢成精美藝術品: 古羊脂白玉之形成, 因質地硬密, 其所承受之地殼壓力係數係相當於鑽石, 因此數量稀少, 體積不大. 但鑽石無法如玉石般供人類雕琢成各式各樣形狀不同之精美藝術品, 而古羊脂白玉證明 2000 年前的中國人已經具備有高度工藝技術將堅硬強軔無比的古羊脂白玉雕琢成精美藝術品供皇帝鑑賞.
(4) 中國人對於 "千年古玉" 的神話與傳奇故事為歷久彌新, 永不毀滅: 中國古代社會裡傳說中的各種 "千年古玉" 的神話與傳奇故事, 包含保護主人的身體健康與帶來主人的好心情及好運勢等等, 皆直接促使中國人對於古代皇室家族所持有的 "千年古玉" 為特別地情有所鍾, 此即為中國人對 "千年古玉" 的迷思心理情結.
(5) 因價值特別昂貴, 卻體積很小, 便於貼身攜帶及藏匿, 不易毀壞, 為古代之最佳保值投資性避風港商品: 中國古代秦國秦始皇曾有欲以15座城市交換趙國之和氏璧玉器藝術品的歷史記錄. 足以證明, 千年古玉藝術品自古至今即為雲端強勢昂貴鉅量貨幣的代替品. 因體積甚小, 便於隨身攜帶與藏匿, 他人不易察覺, 卻又千年不易毀損, 故為古代不論是平時或是戰亂時期的最佳保值投資性避風港商品.
此精美藝術品具備西漢玉工所雕 "皇室家族尊貴威嚴與王者家族氣度神韻" 之極度流暢王玉工藝, 絕非近現代玉工所能完成和仿制之.
++009++
A Carved Archaic Celadon Green Jade Twisted Ropes Totem Triple Sitting Hornless Dragons Green-Dragon-Son-of-Heaven Pendant 1046 B.C. - 771 B.C. Western Zhou Dynasty China
西元前1046年至西元前771年中國西周時期 "古青玉雕扭繩紋三盤螭龍青龍天子珮"
Size: H 8.8 x W 8.7 x Depth 2 cm
Weight: 171 g
The carving of this beautiful work of art in 1046 B.C. - 771 B.C. Western Zhou Dynasty China by Archaic Jade (Ancient Old Jade) was still quite primitive and not made by modern machine tools, but using the popular "Handmade Penetrating Hollow-out-Carvings and Relief-Carvings" in ancient China. The carving techniques of this work of art were made simply, clearly, skillfully, and smoothly upon a thick and solid jade, the Twisted Ropes Totem at the rear part of the pendant, as well as both Penetrating Hollow-out-Carvings and Relief-Carvings of Triple Sitting Hornless Dragons at the front part of the pendant were all the popular jade carving techniques and decoration totems used in Western Zhou Dynasty China.
This work of art has also very clear and apparent yellow loess soakage color in the skin as the aged celadon green jade in ancient China. Thus it’s "True Authenticity"!
“Green-Dragon-Son-of-Heaven” was derived from “Zhou Yi” in Western Zhou Dynasty China. ”Green-Dragon” and “Son-of-Heaven” are synonyms in ancient China. Thus a Carved Archaic Celadon Green Jade Twisted Ropes Totem Triple Sitting Hornless Dragons Green-Dragon-Son-of-Heaven Pendant with extraordinary size H 8.8 x W 8.7 x Depth 2 cm and weight 171 g must have been carried by the Emperors or Kings in Western Zhou Dynasty China. Besides the rear part of this pendant was carved with beautiful Twisted Ropes Totem that was different from other pendants. Its carvings were much more delicately and wonderfully performed.
Jades are beautiful semi-translucent precious stones that are denser than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
Jades are said to be protective stones that keep the wearer from harm by ancient Chinese. They are said to bring harmony and increase love and nurturing. Jade stone is a symbol of purity and serenity. It releases negative thoughts and soothes your mind. It helps you become who you really are. Jades are also said to help kidneys, skeletal system, childbirth, fertility, spleen, hips, body fluids, and adrenal glands by ancient Chinese.
What a wonderful stone Jade really is in ancient China!
西元前1046年至西元前771年中國西周時期 "古青玉雕扭繩紋三盤螭龍青龍天子珮"
尺寸: 高 8.8 x 寬 8.7 x 厚 2 公分
重量: 171 公克
此西元前1046年至西元前771年中國西周時期的古玉雕美麗藝術品, 其雕刻仍然甚為原始! 並非是使用現代的機械工具, 而是利用中國古代的 "手工镂空透雕及浮雕法". 此 "古青玉雕扭繩紋三盤螭龍青龍天子珮" 之雕琢厚實, 簡練, 而流暢, 其玉珮背面的扭繩紋, 玉珮正面的镂空透雕及浮雕三盤螭龍, 皆為中國西周時期的常用玉雕技法與紋飾, 而此工藝品之玉皮上, 亦具備有非常清楚與明顯的中國古老青玉黃土沁色, 故為真正.
“青龍天子” 係緣自中國西周時期的 “周易”. 在中國古代 “青龍” 與 “天子” 為同義語. 故具備超大尺寸 (高 8.8 x 寬 8.7 x 厚 2 公分) 及重量 (171 公克) 的古青玉雕扭繩紋三盤螭龍青龍天子珮必定為中國西周時期的皇帝天子或帝王所隨身佩戴. 更何況, 此玉珮背面尚飾以精美之扭繩紋, 不同於一般的玉珮, 其雕工更屬精巧無比.
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品, 或是一件投資性的大收藏品. 因為 "古玉雕" 的價值, 事實上就如同它的古老年齡一般, 年紀愈老, 價值愈增.
古代中國人傳說玉石是保護主人免於傷害的護身石頭. 它們可帶來和諧及增強愛情與養育. 玉石為純潔與平靜的象徵. 它可釋放出主人的負面思想而安撫主人的情緒. 它幫助主人成為真正的自我. 古代中國人也傳說玉石可幫助主人的腎, 骨骼, 助生育, 生殖力, 脾臟, 臀部, 體液, 及腎上腺等.
在中國古代玉石確實是奇妙而美麗的石頭!
++010++
A Coincident Carved Archaic Sheep-Fat-Oily Khotan Russet Skin Mutton Fat White Jade Sitting Double-humped Camel 206 B.C. - A.D. 25 Western Han Dynasty China
H 9 x W 22.5 x Depth 13.5 cm 3941 g
西元前206年至西元25年中國西漢朝時期和闐黑棗皮古羊脂白玉巧雕坐姿雙峯駱駝
尺寸 Size: H 高 9 x W 寬 22.5 x Depth 深 13.5 cm 公分
重量 Weight: 3941 g 公克
Sheep-Fat-Oily Mutton Fat White Jade was the only privilege of ancient Emperors' family. Thus a Coincident Carved Archaic Sheep-Fat-Oily Khotan Russet Skin Mutton Fat White Jade Sitting Double-humped Camel made in Western Han Dynasty China must have been dedicated to the Emperor of Western Han Dynasty.
The carvings of this beautiful work of art in Western Han Dynasty China by Archaic Mutton Fat White Jade (Ancient Old Jade) were still quite primitive and not made by modern machine tools, but using the popular "Handmade Coincident Carvings" in ancient China.
The carving techniques of this work of art were made simply, clearly, skillfully, and smoothly upon a thick and solid jade boulder with russet skin, and the long incised feminine parallel lines as thin as hair appeared at the mane and tail hair of camel are the popular jade carving techniques and decoration totems used in Western Han Dynasty China. This work of art was coincidentally carved by a skillful imperial jade master according to the natural shape and skin color of the jade boulder. So its design works were extremely excellent for certain.
This work of art has also very clear and apparent loess small pits at the russet skins as the aged Sheep-Fat-Oily Mutton Fat White Jade Boulder in ancient China. Thus it’s "True Authenticity"!
Jades are beautiful semi-translucent precious stones that are denser than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
"Archaic Sheep-Fat-Oily Mutton Fat White Jade" was the gem class jade of best quality in Han Dynasty China. But the modern people have never seen it before. It was the only privilege of ancient Emperors' family in Han Dynasty China. The work of art made by this jade was left scarcely and has been seen rarely in this world. Its color is as that of sheep fat and has oily shining luster. Its inner jade muscular tissue contents have semi-boiled rice phenomena existing in the natural ancient archaic old jades. Nevertheless the jades those were carved in Ming Dynasty, Qing Dynasty, and Modern China have no such phenomena. It looks like foggy translucent due to oily mutton fat appearance, while white jade looks different in this respect. Its oily white shining luster is seen with slight yellow light. It's oily and solid, translucent and clean, white and without cracks, just like solidified sheep mutton fat. Its skin has no deceiving glass light, thus can be slightly varied after the long-term wear attached to human skin by its owner.
Even if the "Archaic Sheep-Fat-Oily White Jade" (also named as "Archaic Mutton Fat White Jade") has been buried in the water and earth for more than 2000 years, it is only slightly soaked in skin parts and still the same smooth, shiny, oily as before due to its solid and dense quality. This is its very precious value never to be broken over thousands of years and the main reason why it is classified as gem class valuable precious stone. The "Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Western Han Queen's Seal" (Weight 33 g) collected by Shaanxi History Museum, Shaanxi Province, China, and this "Coincident Carved Archaic Sheep-Fat-Oily Khotan Russet Skin Mutton Fat White Jade Sitting Double-humped Camel" (Weight 3941 g), both have been buried in the water and earth for more than 2000 years, but they are only slightly soaked in skin parts and still the same smooth, shiny, oily as before due to its solid and dense quality. This proves their very precious value never to be broken over thousands of years and the main reason why the works of art carved by Sheep-Fat-Oily Mutton Fat White Jade have been always classified as gem class valuable national treasures.
The reasons why the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” is classified as gem class valuable precious stone and the works of art carved by this jade have been always classified as gem class valuable national treasures are as follows:
(1) Never to be destroyed in the water and earth even buried for thousands of years: The hardness, solidness and firmness of the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” are better than steel, iron, and other kinds of jades. The discovered ones prove that even if having been buried in the water and earth for 2000 years, they are still the same smooth, shiny, oily as before with the same sheep fatlike oily luster as their original carvings, and never to be destroyed. These jades are really the best research and development objects of the material engineering science in the world.
(2) The beautiful characteristic semi-translucent nature shown like the changeable skin color of a lizard: Due to their natural semi-translucent character, once these jades are placed in front of backgrounds of different colors, the gorgeous colors shown by these jades are to be changed accordingly. Thus they are amazingly beautiful!
(3) Scarcity of discovery, dense and tiny cubic volume, nevertheless bigger than diamond, can be carved into fine works of art by ancient Chinese: The formation of the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” is under the same pressure coefficient from the crust of the earth as diamond on account of its solid and dense characters. Thus these jades are scarce and rare with dense and tiny cubic volume. Nevertheless they are still bigger than diamonds. Diamonds are not to be carved into fine works of art in different shapes full of variety by mankind, but these jades can be done. These archaic jades prove that even 2000 years ago, ancient Chinese had already developed the high technology to carve these extremely firm and hard “Archaic Sheep-Fat-Oily Mutton Fat White Jades” into fine and beautiful works of art for the Imperial Emperor to appreciate the art.
(4) The Legend and Myth Stories of Jade Carved Works of Art done for thousands of years are always forever and forever to Chinese, and never to be ended: In ancient society of China, lots of Legend and Myth Stories of Jade Carved Works of Art done for thousands of years, such as their protections upon their owner master's body good health, their collections of good lucks and fortunes in behalf of their owner master,...etc, have generally provoked Chinese directly to take great interests in the Jade Carved Works of Art owned by the ancient imperial royal family of the Emperor thousands of years ago. This is the so-called Chinese psychological historical affections upon these Archaic Ancient Old Jades that have been done for thousands of years.
(5) Due to their extremely valuable prices, nevertheless in very tiny cubic volume, easy to be carried by human body in transit and easy to be concealed or hidden from enemies, not to be damaged over thousands of years, have made these Jade Carved Works of Art to become the best haven investment commodity in ancient China: In ancient China, the First Emperor of Qin Dynasty ever tried to exchange his 15 cities for a famous Jade carved work of art called He-Shi-Bi from the Nation Zhao in the historical record. This proves that the Archaic Ancient Old Jades that have been done for thousands of years have been always the substitutes for the most valuable and expensive, high end, strongest currency since the ancient times until now. They are shaped into very tiny cubic volume, easy to be carried by human body in transit and easy to be concealed or hidden from enemies, as well as not to be damaged over thousands of years. Thus these inherent natural features have benefited these Jade Carved Works of Art that have been done for thousands of years to become the best haven investment commodity in ancient China, no matter when it was in peaceful or warring times.
This fine work of art was carved with extremely smooth "Handmade Coincident Carvings" by the excellent imperial jade carving master in Western Han Dynasty China. This is absolutely not to be done and copied by modern carvings. It was prodigious and wonderful God's masterpiece-like extremely beautiful imperial jade carving work of art appreciated by the ancient emperors in China.
西元前206年至西元25年中國西漢朝時期和闐黑棗皮古羊脂白玉巧雕坐姿雙峯駱駝
尺寸 Size: H 高 9 x W 寬 22.5 x Depth 深 13.5 cm 公分
重量 Weight: 3941 g 公克
羊脂白玉為中國古代皇帝家族之特權專用玉. 因此, 中國西漢朝時期和闐黑棗皮古羊脂白玉巧雕坐姿雙峯駱駝玉雕藝術品必然是進貢予漢朝皇帝所鑑賞.
此西元前206年至西元25年中國西漢朝時期的高古羊脂白玉巧雕美麗藝術品, 其雕刻仍然甚為原始! 並非是使用現代的機械工具, 而是利用中國古代的 "手工巧雕法". 此 "和闐黑棗皮古羊脂白玉巧雕坐姿雙峯駱駝" 之雕琢為以厚實堅固具黑棗皮色之玉石, 以簡練而流暢之工法巧雕而成. 其駱駝頸部騌毛及尾部毛髮的陰線長曲平行線紋游絲毛雕為中國西漢朝時期的常用玉雕技法與紋飾. 而此藝術品係由一位技術熟練的皇室玉工利用玉原石之天然形狀與其黑棗皮色加以巧雕而成, 故其設計工法肯定是極為優良. 此工藝品之黑棗色玉皮上, 因具備有非常清楚與明顯的中國古老羊脂白玉原石黃土沁小坑洞, 故為真正.
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
"羊脂白玉" 為中國漢朝時期玉中寶石級極品, 但現代人卻從未見過, 為漢朝皇帝家族專用玉, 存世極為稀少, 亦極為罕見. 此玉色若羊脂, 具油脂性光澤, 玉之肌裡有天然古玉的飯滲現象, 而明清及現代玉則無. 因水頭足而呈霧狀之半透明狀, 此點與白玉略有不同. 油脂光澤白色中則透出微微黃色, 溫潤堅密, 瑩透純淨, 潔白無瑕, 如同凝脂. 玉皮無玻璃賊光, 皮色可因主人之長期盤玉而起微微變化.
"羊脂白玉" 縱使被浸泡在水土中保持 2000 餘年, 因其質地硬密, 也只是皮色微沁, 卻溫潤如初, 這就是它千年不壞的可貴之處, 也正是它屬寶石級的貴重價值所在之主要原因. 中國陝西省陜西歷史博物館的館藏 "古羊脂白玉雕西漢皇后之璽 (重 33 g 公克)" 與此件 "中國西漢朝時期和闐黑棗皮古羊脂白玉巧雕坐姿雙峯駱駝 (重 3941 g 公克) " 皆為入土 2000 餘年, 因質地硬密, 也只是皮色微沁, 卻溫潤如初, 充分證明羊脂白玉千年不壞的可貴之處及其藝術品皆被當作是寶石級珍貴國寶的主要原因.
古羊脂白玉雕藝術品皆被當作是寶石級珍貴國寶的主要原因為:
(1) 入土千年不毀壞: 古羊脂白玉之堅硬及強韌度遠勝過鋼鐵與其他類玉種, 出土古羊脂白玉證明其入土 2000 餘年卻仍然溫潤如初, 油脂光澤如故, 並未毀壞, 是世界上材料工程科學的最佳研究開發目標.
(2) 如蜥蝪變色龍般的半透明天然美麗特質: 因為古羊脂白玉是天然半透明的, 所以當背景色系變化時, 古羊脂白玉所顯示的天然絢麗色彩亦隨著變化, 令人驚歎不已.
(3) 數量稀少, 體積不大, 卻比鑽石大, 可供古代中國人雕琢成精美藝術品: 古羊脂白玉之形成, 因質地硬密, 其所承受之地殼壓力係數係相當於鑽石, 因此數量稀少, 體積不大. 但鑽石無法如玉石般供人類雕琢成各式各樣形狀不同之精美藝術品, 而古羊脂白玉證明 2000 年前的中國人已經具備有高度工藝技術將堅硬強軔無比的古羊脂白玉雕琢成精美藝術品供皇帝鑑賞.
(4) 中國人對於 "千年古玉" 的神話與傳奇故事為歷久彌新, 永不毀滅: 中國古代社會裡傳說中的各種 "千年古玉" 的神話與傳奇故事, 包含保護主人的身體健康與帶來主人的好心情及好運勢等等, 皆直接促使中國人對於古代皇室家族所持有的 "千年古玉" 為特別地情有所鍾, 此即為中國人對 "千年古玉" 的迷思心理情結.
(5) 因價值特別昂貴, 卻體積很小, 便於貼身攜帶及藏匿, 不易毀壞, 為古代之最佳保值投資性避風港商品: 中國古代秦國秦始皇曾有欲以15座城市交換趙國之和氏璧玉器藝術品的歷史記錄. 足以證明, 千年古玉藝術品自古至今即為雲端強勢昂貴鉅量貨幣的代替品. 因體積甚小, 便於隨身攜帶與藏匿, 他人不易察覺, 卻又千年不易毀損, 故為古代不論是平時或是戰亂時期的最佳保值投資性避風港商品.
此精美藝術品具備西漢皇室玉工所雕 "手工巧雕法" 之極度流暢王玉工藝, 絕非是近現代玉工所能完成和仿制之, 為中國古代帝王鑑賞用皇室玉雕工藝的鬼斧神工絕美傑作.
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A Carved Archaic Pale Celadon Greenish White Jade Linking Nipple Grain Phoenix Twisted Ropes Totems Heaven Worship Bi of Nation Chu 475 B.C.–221 B.C. Eastern Zhou Dynasty Warring Times China
Bi Diameter 23 x Hole Diameter 4.9 x Depth 0.8cm 750g
The carving of this beautiful work of art in 475B.C.–221B.C. Eastern Zhou Dynasty Warring Times China by Archaic Jade (Ancient Old Jade) was still quite primitive and not made by modern machine tools, but using the popular "Handmade Shallow-Relief-Carvings" in ancient China. The carving techniques of this work of art were made simply, clearly, skillfully, and smoothly upon a thick and solid jade, the Twisted Ropes Totem at the middle circle of Bi, two side walls at the inner and outer circle edges of Bi body, as well as the Shallow-Relief-Carvings of Linking Phoenix and Nipple Grain Totems at both sides of Bi body were all the popular jade carved Bi working techniques and decoration totems used in Eastern Zhou Dynasty Warring Times China.
This work of art has also very clear and apparent yellow loess soakage color in the skin as the aged pale celadon greenish white jade in ancient China. Thus it’s "True Authenticity"!
Linking Phoenix Heaven Worship Bi was the best favorite by the ancient Kings of Nation Chu in Eastern Zhou Dynasty Warring Times China. The people in ancient Nation Chu worshiped Phoenix in the historic records. Therefore a Carved Archaic Pale Celadon Greenish White Jade Linking Nipple Grain Phoenix Twisted Ropes Totems Heaven Worship Bi of Nation Chu must have been used in the national heaven worship ceremonies by the Kings of Nation Chu in Eastern Zhou Dynasty Warring Times China.
Jades are beautiful semi-translucent precious stones that are denser than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
Jades are said to be protective stones that keep the wearer from harm by ancient Chinese. They are said to bring harmony and increase love and nurturing. Jade stone is a symbol of purity and serenity. It releases negative thoughts and soothes your mind. It helps you become who you really are. Jades are also said to help kidneys, skeletal system, childbirth, fertility, spleen, hips, body fluids, and adrenal glands by ancient Chinese.
What a wonderful stone Jade really is in ancient China!
This stunning fine work of art was carved with extremely smooth "His Imperial Majesty Dignity of Kings of Nation Chu in Eastern Zhou Dynasty Warring Times China" by the excellent imperial jade carving master in Eastern Zhou Dynasty Warring Times China. This is absolutely not to be done and copied by modern carvings. It was prodigious and wonderful God's masterpiece-like extremely beautiful imperial jade carving work of art used by the ancient emperors and kings in China.
西元前475年至西元前221年中國東周戰國時期古青白玉淺浮雕勾連乳丁穀紋鳳紋扭繩紋楚國祭天玉璧
璧外徑 23 x 好 (孔) 內徑 4.9 x 厚 0.8 cm 750 g
此西元前475年至西元前221年中國東周戰國時期古青白玉淺浮雕勾連乳丁穀紋鳳紋扭繩紋楚國祭天玉璧的古玉雕美麗藝術品, 其雕刻仍然甚為原始! 並非是使用現代的機械工具, 而是利用中國古代的 "手工淺浮雕法". 此 "古青白玉淺浮雕勾連乳丁穀紋鳳紋扭繩紋楚國祭天玉璧" 之雕琢厚實, 簡練, 而流暢, 其玉璧肉身中間圓圈內的扭繩紋, 玉璧肉身內緣及外緣兩側的牆邊, 及玉璧兩面的淺浮雕勾連乳丁穀紋鳳紋, 皆為中國東周戰國時期的常用玉璧雕琢工法與紋飾, 而此工藝品之玉皮上, 亦具備有非常清楚與明顯的中國古老青白玉黃土沁色, 故為真正.
勾連鳳紋祭天玉璧是中國東周戰國時期楚國楚王之最愛用玉璧. 於歷史記錄中, 中國古代楚國人民為崇拜鳳凰. 故中國東周戰國時期古青白玉淺浮雕勾連乳丁穀紋鳳紋扭繩紋楚國祭天玉璧必然為中國東周戰國時期楚國楚王所使用於祭天儀式中.
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品, 或是一件投資性的大收藏品. 因為 "古玉雕" 的價值, 事實上就如同它的古老年齡一般, 年紀愈老, 價值愈增.
古代中國人傳說玉石是保護主人免於傷害的護身石頭. 它們可帶來和諧及增強愛情與養育. 玉石為純潔與平靜的象徵. 它可釋放出主人的負面思想而安撫主人的情緒. 它幫助主人成為真正的自我. 古代中國人也傳說玉石可幫助主人的腎, 骨骼, 助生育, 生殖力, 脾臟, 臀部, 體液, 及腎上腺等.
在中國古代玉石確實是奇妙而美麗的石頭!
此出色極美之精美藝術品具備中國東周戰國時期帝王玉工所雕 "楚國帝王尊貴威嚴的王者氣度神韻" 之極度流暢王玉工藝, 絕非是近現代玉工所能完成和仿制之, 為中國古代帝王所用帝王玉雕工藝的鬼斧神工絕美傑作.
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A Carved Archaic White Jade Cavalrymen War Horses and Halberds of Middle Sizes Totems Militarism Worship Cong of the First Emperor of Qin 475 B.C.–206 B.C. Eastern Zhou Dynasty Warring Times to Qin Dynasty China
Cong H 29.5 x W 15 x Depth 14.8 cm Cong Hole Diameter 10 cm Weight 10,908 g
Inscription: Every Side of Cong has Eight Cavalrymen Totems each riding on War Horse and holding Halberd of Middle Size to stab at enemies from different directions and has also two Chinese ancient characters “Halberd of Middle Size” written in Qin Characters or Xiao Zhuan Characters that were invented by the Premier Li Si of Qin Dynasty at the middle vertical line part of Cong on its four sides. The Cavalrymen War Horses and Halberds of Middle Sizes Totems as well as the two Chinese ancient characters “Halberd of Middle Size” written in Qin Characters or Xiao Zhuan Characters were all using the melted copper to be filled into the carved incised feminine ditch lines forming new smooth surface.
The carving of this beautiful work of art in 475 B.C. – 206 B.C. Eastern Zhou Dynasty Warring Times to Qin Dynasty China by Archaic Jade (Ancient Old Jade) was still quite primitive and not made by modern machine tools, but using the popular "Handmade Hollowing-hole-from-two-sides Carvings" in ancient China. The carving techniques of this work of art were made simply, clearly, skillfully, and smoothly upon a thick and solid jade, the Handmade Hollowing-hole-from-two-sides Carvings forming path gaps between two holes from each side and a rectangular jade body carved with an inner hole were all the popular jade carved Cong working techniques used in Eastern Zhou Dynasty Warring Times to Qin Dynasty China.
This work of art has also very clear and apparent yellow loess soakage color in the skin as the aged white jade in ancient China. Thus it’s "True Authenticity"!
Jades are beautiful semi-translucent precious stones that are denser than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
Jades are said to be protective stones that keep the wearer from harm by ancient Chinese. They are said to bring harmony and increase love and nurturing. Jade stone is a symbol of purity and serenity. It releases negative thoughts and soothes your mind. It helps you become who you really are. Jades are also said to help kidneys, skeletal system, childbirth, fertility, spleen, hips, body fluids, and adrenal glands by ancient Chinese.
What a wonderful stone Jade really is in ancient China!
This stunning fine work of art was carved with extremely smooth "His Imperial Majesty Dignity of Kings of Nation Qin in Eastern Zhou Dynasty Warring Times China and the Militarism Worship of the First Emperor of Qin Dynasty China" by the excellent imperial jade carving master in Eastern Zhou Dynasty Warring Times to Qin Dynasty China. This is absolutely not to be done and copied by modern carvings. It was prodigious and wonderful God's masterpiece-like extremely beautiful imperial jade carving work of art used by the ancient emperors and kings in China.
Asian Art Museum located in San Francisco CA. U.S.A. has collected two ancient "Jade carved Heaven Worship Congs of China".
西元前475年至西元前206年中國東周戰國至秦朝時期古白玉雕騎兵戰馬中戟紋秦始皇帝崇武玉琮
琮高 29.5 x 寬 15 x 深 14.8 cm 琮之內孔直徑 10 cm 重 10,908 g
銘文: 玉琮四面的每一面皆飾以將青銅鎔入玉面陰刻溝渠線紋的鑠金8幅騎兵乘戰馬持中戟以不同方位刺向敵人紋, 每面中間直線條中尚飾以秦文或秦相李斯所創小篆文字體 “中戟” 二文字.
此西元前475年至西元前206年中國東周戰國至秦朝時期古白玉雕騎兵戰馬中戟紋秦始皇帝崇武玉琮的古玉雕美麗藝術品, 其雕刻仍然甚為原始! 並非是使用現代的機械工具, 而是利用中國古代的 "手工兩邊穿洞雕法". 此 "古白玉雕騎兵戰馬中戟紋秦始皇帝崇武玉琮" 之雕琢厚實, 簡練, 而流暢, 其以手工從兩邊穿洞雕法所形成之洞中路徑不一致, 與方形玉柱體內鏤空穿過一大圓孔的方式, 皆為中國東周戰國至秦朝時期的常用玉琮雕琢工法. 而此工藝品之玉皮上, 亦具備有非常清楚與明顯的中國古老白玉黃土沁色, 故為真正.
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品, 或是一件投資性的大收藏品. 因為 "古玉雕" 的價值, 事實上就如同它的古老年齡一般, 年紀愈老, 價值愈增.
古代中國人傳說玉石是保護主人免於傷害的護身石頭. 它們可帶來和諧及增強愛情與養育. 玉石為純潔與平靜的象徵. 它可釋放出主人的負面思想而安撫主人的情緒. 它幫助主人成為真正的自我. 古代中國人也傳說玉石可幫助主人的腎, 骨骼, 助生育, 生殖力, 脾臟, 臀部, 體液, 及腎上腺等.
在中國古代玉石確實是奇妙而美麗的石頭!
此出色極美之精美藝術品具備中國東周戰國至秦朝時期帝王玉工所雕 "秦國帝王尊貴威嚴的王者氣度神韻及秦朝秦始皇帝的崇武精神" 之極度流暢王玉工藝, 絕非是近現代玉工所能完成和仿制之, 為中國古代帝王所用帝王玉雕工藝的鬼斧神工絕美傑作.
位於美國舊金山的亞洲藝術博物館已收集兩件中國古代的祭天 "玉琮".
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A Blue and White Red-glazed Doucai Sea Waves Shrimp Birds and Beasts Bowl
Wanli Period (1573 - 1620), Six-character Seal-mark, Ming Dynasty.
大明萬曆年製青花礬紅彩鬥彩海浪蝦禽獸紋大碗
碗徑 Diameter 19.5 cm x 高 H 8.5 cm 公分
圈足徑 Round Base-stand Diameter 8.2 cm x 高 H 1.2 cm 公分 圈足底露胎無釉 The bottom of round base-stand is not glazed.
重量 Weight 644 grams 公克
1. This bowl was using techniques of to outline and to paint colors. It appears to be simple and lack of structure. But that is the basic style of Wanli Period porcelain in Ming Dynasty.
2. The color of glaze surface being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: The color of glaze surface being greenish-white is owing to the traditional firing method in Ming Dynasty. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.
3. The burned splendid heavy blue and white decorations on the glaze of the bowl can be visually seen the black cobalt material defects spots (i.e. the black depressed shallow holes on porcelain body with a flash of silver-white tin light) formed by the Sumali-smalt green dyestuff. This proves that it was a blue and white porcelain product made in Ming Dynasty: The blue and white porcelain product made in Ming Dynasty was mainly painted with the Sumali-smalt green dyestuff (i.e. the Sumali-smalt green dyestuff was heavily used in Yongle and Xuande period) that will create a natural misty phenomenon under firing. Because the Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown, so with an appropriate level of firing attainment a splendid heavy green and blue color can be burnt out, such as the blue gloss of a sapphire, with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defects spots to be left at the blue and white firing parts. Besides the supply source of imports and its origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply can not be obtained. Therefore its usage has become an important research evidence to authenticate the blue and white porcelain products in Ming Dynasty.
4. The glaze surface on the internal bowl can be seen visible clam light from its side view for the sake of old ages. This proves that it is by no means a modern porcelain product.
5. Under a magnifying glass the glaze bubbles of different sizes on bowl surface are not neat. This is completely different from those bubbles with same size and being fine, neatly spread on a typical modern imitation product. This proves that it is by no means a modern porcelain product.
1. 此碗採用勾勒填色之法，顯得單一，缺乏層次，但這正是大明萬曆年製瓷器的基本風格。
2. 釉面青白證明絕非是現代瓷器: 釉面青白為整個明代傳統燒造方法所致，因釉料中摻有草木灰，並用木柴燒，所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同，因此釉面無此青白色。
3. 碗釉面青花紋飾色澤濃豔之青花燒成部分, 可見“蘇麻離青”鈷料的黑疵斑點(即凹陷胎骨並具閃銀白色"錫光"的黑色斑點), 證明是明代青花瓷製品: 明代青花主要是用“蘇麻離青”鈷料(即永樂宣德時期所大量使用的蘇麻離青料)，燒造時有其自然的暈散現象。由於蘇麻離青含錳量低、含鐵量高，降低了呈色中的紅、紫色調，在適當的火候下就能燒出濃艷的青藍色，猶如寶石藍一般的光澤，色彩雅致凝重，鮮艷奪目，層次分明。不過由於蘇麻離青料含鐵量高，往往會在青花燒成部分留下一些黑疵斑點，且蘇麻離青料的進口來源及其產地供應，在現代皆已是不可考，也無法取得其貨源，故已成為考證明代青花瓷的重要憑據。
4. 碗底內部釉面側看可見蛤蜊光，此是年代久遠的緣故，證明絕非是現代瓷器。
5. 放大鏡下能見碗釉面氣泡之大小不一也不整齊，此與典型現代仿品氣泡為大小相同、且細密、整齊者為完全不同，證明絕非是現代瓷器。
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A Blue and White Red-glazed Sea Waves Shrimp Birds and Beasts Dish
Wanli Period (1573 - 1620), Six-character Seal-mark, Ming Dynasty.
大明萬曆年製青花礬紅彩海浪蝦禽獸紋盤
盤徑 Diameter 21.8 cm x 高 H 4.3 cm 公分
圈足徑 Round Base-stand Diameter 12.8 cm x 高 H 0.8 cm 公分 圈足底露胎無釉 The bottom of round base-stand is not glazed.
重量 Weight 600 grams 公克
1. This dish was using techniques of to outline and to paint colors. It appears to be simple and lack of structure. But that is the basic style of Wanli Period porcelain in Ming Dynasty.
2. The color of glaze surface being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: The color of glaze surface being greenish-white is owing to the traditional firing method in Ming Dynasty. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.
3. The burned splendid heavy blue and white decorations on the glaze of the dish can be visually seen the black cobalt material defects spots (i.e. the black depressed shallow holes on porcelain body with a flash of silver-white tin light) formed by the Sumali-smalt green dyestuff. This proves that it was a blue and white porcelain product made in Ming Dynasty: The blue and white porcelain product made in Ming Dynasty was mainly painted with the Sumali-smalt green dyestuff (i.e. the Sumali-smalt green dyestuff was heavily used in Yongle and Xuande period) that will create a natural misty phenomenon under firing. Because the Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown, so with an appropriate level of firing attainment a splendid heavy green and blue color can be burnt out, such as the blue gloss of a sapphire, with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defects spots to be left at the blue and white firing parts. Besides the supply source of imports and its origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply can not be obtained. Therefore its usage has become an important research evidence to authenticate the blue and white porcelain products in Ming Dynasty.
4. The glaze surface on the external dish can be seen visible clam light from its side view for the sake of old ages. This proves that it is by no means a modern porcelain product.
5. Under a magnifying glass the glaze bubbles of different sizes on dish surface are not neat. This is completely different from those bubbles with same size and being fine, neatly spread on a typical modern imitation product. This proves that it is by no means a modern porcelain product.
1. 此盤採用勾勒填色之法，顯得單一，缺乏層次，但這正是大明萬曆年製瓷器的基本風格。
2. 釉面青白證明絕非是現代瓷器: 釉面青白為整個明代傳統燒造方法所致，因釉料中摻有草木灰，並用木柴燒，所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同，因此釉面無此青白色。
3. 盤釉面青花紋飾色澤濃豔之青花燒成部分, 可見“蘇麻離青”鈷料的黑疵斑點(即凹陷胎骨並具閃銀白色"錫光"的黑色斑點), 證明是明代青花瓷製品: 明代青花主要是用“蘇麻離青”鈷料(即永樂宣德時期所大量使用的蘇麻離青料)，燒造時有其自然的暈散現象。由於蘇麻離青含錳量低、含鐵量高，降低了呈色中的紅、紫色調，在適當的火候下就能燒出濃艷的青藍色，猶如寶石藍一般的光澤，色彩雅致凝重，鮮艷奪目，層次分明。不過由於蘇麻離青料含鐵量高，往往會在青花燒成部分留下一些黑疵斑點，且蘇麻離青料的進口來源及其產地供應，在現代皆已是不可考，也無法取得其貨源，故已成為考證明代青花瓷的重要憑據。
4. 盤之外方釉面側看可見蛤蜊光，此是年代久遠的緣故，證明絕非是現代瓷器。
5. 放大鏡下能見盤釉面氣泡之大小不一也不整齊，此與典型現代仿品氣泡為大小相同、且細密、整齊者為完全不同，證明絕非是現代瓷器。
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A Large Blue and White Fish Algae Lotus Dish Xuande Period 大明宣德年製官窯青花魚藻纏枝蓮花卉紋大盤
A Large Blue and White Fish Algae Lotus Dish Imperial Palace Workshop Xuande Period (1426 - 1435) Ming Dynasty
大明宣德年製官窯青花魚藻纏枝蓮花卉紋大盤
A Rare and Fine Large Blue and White Fish Algae Lotus Dish
Imperial Palace Workshop Xuande Period (1426 - 1435) Six-character Seal-mark Ming Dynasty
罕見精品大明宣德年製 (1426 - 1435) 官窯青花魚藻纏枝蓮花卉紋大盤
盤徑 Diameter 45 cm x 高 H 7.5 cm 公分
雙圈足︰
外圈足徑 Outer Round Base-stand Diameter 25.5 cm x 高 H 0.8 cm 公分
內圈足徑 Inner Round Base-stand Diameter 9.5 cm x 高 H 0.7 cm 公分
1. The porcelain body has the features of Xuande blue and white porcelain: the porcelain body of Xuande blue and white porcelain is thicker and heavier than those similar artifacts made in Yongle Period, designed in regular and generous shape, and had hard and white quality of porcelain.
2. The glaze has also the features of Xuande blue and white porcelain: the glaze of Xuande blue and white porcelain is hyper-thick. It is usually not very flat, like orange peel. The color of glaze has mostly a pale greenish tinge out of white.
3. The color of glaze surface being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: the glaze surface of Xuande blue and white porcelain is greenish-white. The color of glaze surface being greenish-white is owing to the traditional firing method in Ming Dynasty. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.
4. The Six-character Seal-mark “Made in Xuande Years of Great Ming” in two vertical rows at the outer bottom of the dish being inscribed with a missing horizontal cross line in the middle of the Chinese character “de” has proved that it was made by the imperial court-operated kiln (Imperial Palace Workshop) of Xuande blue and white porcelain: the Six-character Seal-mark “Made in Xuande Years of Great Ming” of Xuande blue and white porcelain made by the imperial court-operated kiln was inscribed with a missing horizontal cross line in the middle of the Chinese character “de” in order to respect the Emperor Xuande. This large dish has exquisite workmanship. Its blue and white color is gorgeous. It is also well-preserved and has become a top grade work of art among those similar artifacts to be handed down to posterity.
5. Tapping the dish wall issuing a sonorous and clear metallic sound proves that it is a porcelain product made in Ming Dynasty: tapping the Ming Dynasty porcelain that has high purity of raw materials will issue crisp sound similar to that of metal.
6. The burned splendid heavy blue and white decorations on the glaze surface of the dish can be visually seen the little black cobalt material defects spots (i.e. the little black depressed shallow holes on porcelain body with a flash of silver-white tin light) formed by the Sumali-smalt green dyestuff. This proves that it was delicately and finely made by the imperial court-operated kiln (Imperial Palace Workshop) of Xuande blue and white porcelain: Xuande blue and white porcelain was mainly glazed with the Sumali-smalt green dyestuff (i.e. the Sumali-smalt green dyestuff was heavily used in Yongle and Xuande period) that will create a natural misty phenomenon under firing. Because the Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown, so with an appropriate level of firing attainment a splendid heavy green and blue color can be burnt out, such as the blue gloss of a sapphire, with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defects spots to be left at the blue and white firing parts. Besides the supply source of imports and its origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply can not be obtained. Therefore its usage has become an important research evidence to authenticate the blue and white porcelain products in Ming Dynasty.
1. 瓷胎具備宣德青花瓷之特點: 宜德時期的青花瓷的胎體，比永樂時期的同類器物要厚重，器形規整大方，胎質堅硬潔白。
2. 釉面亦具備有宣德青花瓷之特點: 宣德時期釉面的釉子肥厚，不太平整，像橘子皮，釉色大多白中泛青。
3. 釉面青白證明絕非是現代瓷器: 宣德青花瓷的釉面青白，釉面青白為整個明代傳統燒造方法所致，因釉料中摻有草木灰，並用木柴燒，所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同，因此釉面無此青白色。
4. 盤底"大明宣德年製"的二直排六字楷書款之"德"字中間少一橫，證明是"官窯"宣德青花瓷: "大明宣德年製"的"官窯"宣德青花瓷，其六字楷書款之"德"字中間少一橫，表示對宣德皇帝的尊敬之意。此大盤之製作工藝精湛，青花發色豔麗，保存完好，為傳世同類器物中之上品。
5. 輕叩盤壁發出鏗鏘清脆的金屬聲, 證明是明朝時期瓷器製品: 原料純淨度高的明朝時期瓷器，在輕叩時，會發出類似金屬的清脆聲音。
6. 盤上釉面青花紋飾色澤濃豔之青花燒成部分,可視及其留下“蘇麻離青”鈷料的微小黑疵斑點(即凹陷胎骨並具閃銀白色"錫光"的微小黑色斑點), 證明是明代宣德青花"官窯"的精緻細膩瓷製品: 宣德青花主要是用“蘇麻離青”鈷料(即永樂宣德時期所大量使用的蘇麻離青料)，燒造時有其自然的暈散現象。由於蘇麻離青含錳量低、含鐵量高，降低了呈色中的紅、紫色調，在適當的火候下就能燒出濃艷的青藍色，猶如寶石藍一般的光澤，色彩雅致凝重，鮮艷奪目，層次分明。不過由於蘇麻離青料含鐵量高，往往會在青花燒成部分留下一些黑疵斑點，且蘇麻離青料的進口來源及其產地供應，在現代皆已是不可考，也無法取得其貨源，故已成為考證明代青花瓷的重要憑據。
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A five-colored bottle vase opened the European Voyage Age of Discovery 五彩天球甁開啟歐洲大航海時代
A Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Bottle Vase 明朝正統年製官窯釉下彩五彩歐洲使節天朝進貢天球瓶
A Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Ming Dynasty
明朝正統年製官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶
A Rare and Fine Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping
Imperial Palace Workshop Zhengtong Period (1436 - 1449) Four-character Seal-mark Ming Dynasty
罕見精品明朝正統年製 (1436 - 1449) 官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶
腹徑 Abdomen Diameter 23.5 cm x 高 H 37 cm 公分
口徑 Top Diameter 8.2 cm 公分
圈足徑 Round Base-stand Diameter 11 cm 公分
1. The porcelain body has the features of Ming Dynasty porcelain: the porcelain body of Ming Dynasty porcelain is designed in regular and generous shape, and had hard and white quality of porcelain.
2. The color of glaze surface inside the bottle vase being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: the glaze surface of Ming Dynasty porcelain is greenish-white. The color of glaze surface being greenish-white is owing to the traditional firing method in Ming Dynasty. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.
3. According to historical records, in Ming Dynasty Zhengtong Year 3 (A.D. 1438), Ming Sovereign had prohibited the civil kilns to fire porcelain products that have the same styles as those made by the Imperial Palace Workshops. In Ming Dynasty Zhengtong Year 12 (A.D. 1447), Ming Sovereign had also banned the civil kilns to fire porcelain products that have yellow, purple, red, green, smalt, blue, and white groundings in private. This bottle vase has a blue grounding on it and was made in Zhengtong Period (1436 - 1449). Obviously it was indeed a porcelain product made by Imperial Palace Workshop. Besides it has exquisite workmanship, gorgeous under-glazed five-colored Wucai colors. It is also well-preserved and has become a top grade work of art among those similar artifacts made by Imperial Palace Workshops to be handed down to posterity.
4. Tapping the bottle vase wall issuing a sonorous and clear metallic sound proves that it is a porcelain product made in Ming Dynasty: tapping the Ming Dynasty porcelain that has high purity of raw materials will issue crisp sound similar to that of metal.
5. According to historical records, in Zhengtong Period (1436 - 1449) Ming Dynasty, both imperial court-operated kilns (Imperial Palace Workshops) and civil private kilns have had porcelain firings and productions. But the porcelain works of art handed down to posterity, so far have not been found any one single piece to be made by Imperial Palace Workshops and inscribed with "Made in Zhengtong Years". So there are the said terminologies of "Blank Period" and "Three Dark Dynasties" of porcelain products academically. But these academic alleged terminologies are meant to the imperial kilns (Imperial Palace Workshops), not to the civil private kilns. The productions of civil private kilns, just like those in other dynasties, have never been stopped. But from the view of the productions of imperial kilns in Zhengtong Period, it was still a blank period.
(1) This Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping made by Imperial Palace Workshop in Zhengtong Period (1436 - 1449) has clearly explained the reason why so far not any one single piece made by Imperial Palace Workshops and inscribed with "Made in Zhengtong Years" to be found in "Blank Period" and "Three Dark Dynasties" of porcelain products:
(2) In the early Ming Dynasty, Ming Sovereign had executed a diplomatic tributary system. The tributary trade of Ming Sovereign received little from a tributary country, but was paying back with extremely high returns. If you want to do business in China, it is necessary to follow this tributary system, otherwise you are not to be granted. This is the so-called tributary trade. In the 13th century, there are already many European envoys along the Silk Road coming to the capital of China in Yuan Dynasty (1206 - 1368) to meet the Mongol Khan. On this more than 7,000 kilometers of Silk Road, porcelain products originated in China have long been a symbol of a powerful and prosperous East Asian civilization.
(3) Because the porcelain products spread to Europe in the west were at extraordinarily high prices, so that a considerable number of Europeans had been convinced of that China and East Asia must have been a property of the abundance of wealth. The European Majesties and Lords once were used to having home porcelain as a rich symbol of glory.
(4) Since this Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping made by Imperial Palace Workshop in Zhengtong Period (1436 - 1449) Ming Dynasty was painted on the bottle vase with the scenery of European envoy presenting his tribute to the Ming Emperor, this proves that the porcelain products of imperial kilns in Zhengtong Period Ming Dynasty were all handed over to European envoys by Ming government and transported to Europe through the diplomatic tributary trades, and none were left in China.
(5) On account of this reason, and besides the colors of under-glazed five-colored Wucai porcelain products made by imperial kilns in Zhengtong Period (1436 - 1449) Ming Dynasty were really extraordinarily fine and gorgeous, the European Majesties and Lords must have been astonished at their wonderful colorful five-colored beauties as being from a heavenly country, already beyond their original longing images upon the gorgeous blue and white porcelain from Yuan and Ming dynasties in China, such as a new era from a black and white TV world to the colored one. Therefore they regarded the greater East Asia and China as an area with incredibly rich and affluent properties, and where they could not be not to go. They had to avoid the historical Silk Road, decided to open the European Voyage Age of Discovery directly, and had strong and fearless attempt to select another alternative sea route to trade with East Asia and China.
(6) Therefore, King John II of Portugal commanded Bartolomeu Dias to be departed in 1487 trying the rounding sea of the southern tip of Africa, then Cape of Good Hope was discovered. This indicated that the sea route to the richness of the greater East Asia and China via Indian Sea was accessible.
(7) Queen Isabel I of the Kingdom of Castile Spain supported the exploration of Christopher Columbus in 1492 to expect his finding another sea route sailed westward from Europe to Indian Sea.
(8) Under the command of new king Manuel I of Portugal, Vasco da Gama discovered a new sea route directly from Europe to India in 1498. Thus the Silk Road on land was no longer the only way to the eastern market.
(9) Italian explorer Amerigo Vespucci who was under command of Spanish King discovered a new continent of America from 1499 to 1504.
(10) In May 1513 Jorge Álvares, one of the European Portuguese envoys, finally reached China from the sea route. It was Rafael Perestrello—a cousin of the famed Christopher Columbus—who became the first European explorer to land on the southern coast of mainland China and trade in Guangzhou in 1516. Fernão Pires de Andrade visited Canton in 1517 and opened up trade with China.
(11) But the Portuguese begun to invade China in 1521 to force China to open trade ports, and Tuenmun naval battle was then broken out. In 1553 the Portuguese finally was granted by the Chinese Ming government to establish the colony of Macau. Dutch occupied the Penghu Isles near Taiwan twice, and Penghu naval battle was broken out. Dutch afterwards occupied the island of Taiwan instead. The Spaniard also gained control of Taiwan's northern Keelung. Holland and Spain two countries began to have Taiwan as a colony for ports of trading with the Chinese Ming government.
1. 瓷胎具備明朝瓷器之特點: 明朝時期瓷器的胎體，器形規整大方，胎質堅硬潔白。
2. 天球瓶內釉面青白證明絕非是現代瓷器: 明朝時期瓷器的釉面青白，釉面青白為整個明代傳統燒造方法所致，因釉料中摻有草木灰，並用木柴燒，所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同，因此釉面無此青白色。
3. 據文獻記載，明朝正統三年 (西元1438年) 曾經禁止民窯燒造和官窯器式樣相同的瓷器; 明朝正統十二年 (西元1447年) 亦有不准民窯私造黃、紫、紅、綠、青、藍、白地等瓷器的禁令。此天球瓶是正統年製藍地瓷器，明顯的確是官窯器，且其製作工藝精湛，釉下彩五彩發色豔麗，保存完好，為官窯傳世同類器物中之上品。
4. 輕叩天球瓶壁發出鏗鏘清脆的金屬聲, 證明是明朝時期瓷器製品: 原料純淨度高的明朝時期瓷器，在輕叩時，會發出類似金屬的清脆聲音。
5. 從文獻記載，正統時期不論官、民窯器都曾有燒造。但傳世品中至今未見一件署年款 (正統年製) 的官窯瓷器，所見瓷器均為民窯所產，故學術界有"空白期"和"黑三代"之稱。學術界所稱係指官窯，並非民窯。就民窯生產來說，它和其他朝代一樣，並未間斷過，但就官窯生產來看，正統時期仍然是一個空白期。
(1) 而此件明朝正統年製 (1436 - 1449) 官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶，正可明確解釋為何傳世品中至今未見一件署年款 (正統年製) 的"空白期"和"黑三代"官窯瓷器的原因︰
(2) 明朝初年，外交實施朝貢體制，朝貢貿易薄來厚往，如果要來中國做生意，必需朝貢兼貿易，否則不予，這就是所謂的朝貢貿易。13世紀時代，即有不少歐洲使節沿絲綢之路來到中國元朝 (1206 - 1368) 的都城拜見蒙古大汗。而在這逾 7000 公里的絲綢之路上，原產於中國的瓷器，早已成為當時一個東亞強盛文明的象徵。
(3) 由於西傳至歐洲的瓷器價格奇高，令相當多的歐洲人認為中國乃至東亞是一個物產豐盈的富裕地區，歐洲各國元首及貴族曾一度以家中使用瓷器為富有榮耀的象徵。
(4) 既然此件明朝正統年製 (1436 - 1449) 官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶，瓶上所繪製的正是歐洲使節天朝進貢人物風景圖，證明明朝正統年製 (1436 - 1449) 的官窯瓷器，皆是由明朝政府交予往來朝貢貿易的歐洲使節全部運往歐洲，並未留在中國。
(5) 正因如此，由於明朝正統年製 (1436 - 1449) 官窯釉下彩五彩瓷器的色彩真是太過於精美豔麗，使歐洲各國元首及貴族驚為彩色之五彩天物，早已經超越歐洲人原先對於中國元、明兩朝青花磁器豔麗之嚮往，正如同從黑白電視世界進入彩色電視的新世紀一般，而更加認為大東亞及中國乃是一個物產無比豐盈的富裕地區，不可不去，遂有避開歷史絲綢之路，決定直接開啟歐洲之大航海時代，選擇另一條由海路直接通商大東亞及中國之堅強無畏企圖。
(6) 因此1487年迪亞士受葡萄牙國王若昂二世之命令出發尋找環繞非洲大陸最南端的海洋，因而發現了好望角，這意味著經由印度洋航線進入富有的大東亞及中國的海路已是可行。
(7) 1492年西班牙卡斯蒂利亞王國伊莎貝拉一世女王資助了克里斯多福·哥倫布的探險活動，希望他能找到從歐洲向西航往印度洋的路線。
(8) 在葡萄牙新國王曼努埃爾一世的命令下，1498年瓦斯科·達伽馬發現了從歐洲直接通往印度的新航線，使得陸上絲綢之路不再是通往東方市場的唯一途徑。
(9) 1499年－1504年間，為西班牙國王效勞的義大利人阿美利哥·維斯普西發現了新大陸亞美利加洲（America）。
(10) 1513年5月眾多歐洲葡萄牙使節中之一位歐維士特使終於從海路抵達中國。但卻是有名的克里斯多福·哥倫布的堂兄弟拉斐爾·佩雷友，於1516年成為第一位抵達中國南方海岸並登上中國土地，且於廣州進行商業貿易的歐洲探險家。費爾南皮雷斯·德·安德拉德於1517年到訪廣東並與中國開始通商貿易。
(11) 但葡萄牙人卻於1521年開始以武力入侵中國，強逼中國開放國門通商，爆發屯門海戰。1553年葡萄牙人終於得到中國明朝政府批准，建立了澳門殖民地。荷蘭人則先後二次侵佔澎湖，爆發澎湖海戰，後改為攻佔台灣島。西班牙人亦攻佔台灣北部基隆。荷蘭、西班牙兩國皆以台灣為殖民地，作為與中國明朝政府通商貿易的港口。
++017++
An Eggshell Blue and White Playing Kids Bowl Yongle Period 明永樂年製官窯薄胎青花嬰戲圖大碗
An Eggshell Thin Blue and White Playing Kids and Flower Bowl Imperial Palace Workshop Yongle Period (1403 - 1424) Ming Dynasty
明永樂年製官窯薄胎青花人物花卉紋嬰戲圖大碗
A Very Fine and Rare Eggshell Thin Blue and White Playing Kids and Flower Bowl
Imperial Palace Workshop, Yongle Period (1403 - 1424), Four-character Seal-mark, Ming Dynasty.
罕見精品明永樂年製 (1403 - 1424) 官窯薄胎青花人物花卉紋嬰戲圖大碗
碗徑 Diameter 24.4 cm x 高 H 9.5 cm 公分
圈足徑 Round Base-stand Diameter 10 cm x 高 H 1 cm 公分
碗壁厚度 Bowl Wall Thickness 0.1 cm 公分
重量 Weight 323 grams 公克
1. The porcelain body has the features of Yongle blue and white porcelain: Dignity and beauty with very soft and smooth utensils lines, to pay much attention to repair the porcelain body, the shape is very structured. The porcelain body is pure due to careful refining and containing little impurities. Thus the porcelain body is delicate and the color of body is white with moderate thickness and smartly dignified, lighter and thinner than those bodies done in Hongwu Period (1368 - 1398) Ming Dynasty.
2. The glaze has also the features of Yongle blue and white porcelain: Due to the increase of firing temperature in Yongle Period, the surface of glaze is fine, smooth, shiny, flat and clean, having no orange peel glaze pattern. The color of glaze surface is mostly greenish-white and the artworks are evenly glazed inside and outside.
3. The color of glaze surface being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: The color of Yongle blue and white porcelain glaze surface is lighter than that in Yuan Dynasty (1206 -1368). The color of glaze surface being greenish-white is owing to the traditional firing method in Yongle Period. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.
4. The bottom heart of bowl being outer-convex and inner-concave, the outer-bottom being uniformly white glazed, and the round bottom base-stand being also glazed prove that it is definitely Yongle blue and white porcelain: The bottom heart of bowl of Yongle blue and white porcelain is always outer-convex and inner-concave. The outer-bottom of the Yongle blue and white porcelain bowl, if glazed, its glaze must have been uniformly white glazed, and the round bottom base-stand is also having been glazed.
5. The Four-character Seal-mark “Made in Yongle Years” has proved that it was made by the imperial court-operated kiln (Imperial Palace Workshop) of Yongle blue and white porcelain: Yongle blue and white porcelain has generally no seal-mark, except only a few models. Only the hand cups made by the imperial court-operated kiln of Yongle blue and white porcelain have been seen being inscribed with the Four-character Seal-mark “Made in Yongle Years” written in the ancient calligraphic seal type, surrounded with double circle lines, single circle line, or flower petals with ribbons.
6. The round bottom base-stand being low and thin to form a V shape trapezoid (i.e. big upper and small lower round bottom base-stand) proves that it is a blue and white porcelain product made in Ming Dynasty.
7. Tapping the bowl wall issuing a sonorous and clear metallic sound proves that it is a porcelain product made in Ming Dynasty: tapping the Ming Dynasty porcelain that has high purity of raw materials will issue crisp sound similar to that of metal.
8. The burned splendid heavy blue and white decorations on the Four-character Seal-mark “Made in Yongle Years” inscribed at the outer-bottom of the bowl, the banana leaves and the flowers painted at the outer bowl wall, after having to go through the magnification observation, can be visually seen the black cobalt material defects spots (i.e. the black depressed shallow holes on porcelain body with a flash of silver-white tin light) formed by the Sumali-smalt green dyestuff. This proves that it was delicately and finely made by the imperial court-operated kiln (Imperial Palace Workshop) of Yongle blue and white porcelain: Yongle blue and white porcelain was mainly glazed with the Sumali-smalt green dyestuff (i.e. the Sumali-smalt green dyestuff was heavily used in Yongle and Xuande period) that will create a natural misty phenomenon under firing. Because the Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown, so with an appropriate level of firing attainment a splendid heavy green and blue color can be burnt out, such as the blue gloss of a sapphire, with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defects spots to be left at the blue and white firing parts. Besides the supply source of imports and its origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply can not be obtained. Therefore its usage has become an important research evidence to authenticate the blue and white porcelain products in Ming Dynasty.
9. The weight of this bowl is very light (only 323 grams) and evenly distributed due to the loss of its metal elements in the soil quite a lot. This proves that it was indeed a finished product during 1403 – 1424. The metal elements of modern porcelain have not been lost yet, thus modern one can not achieve such a light degree of weight. The weight of modern one is also not evenly distributed, often lighter at the upper and heavier at the lower.
1. 瓷胎具備永樂青花瓷之特點: 端莊秀美，器物線條非常柔美流暢。講究修胎，器形十分規整。瓷胎由於注意淘煉，胎質純，含雜質少，胎質細膩，胎色潔白，胎體厚薄適度，靈巧凝重，較之洪武朝 (1368 - 1398) 普遍輕薄一些。
2. 釉面亦具備有永樂青花瓷之特點: 永樂時期由於燒造溫度的提高，釉面細膩、光滑、瑩潤、平凈，絕無橘皮釉紋。釉色大多白中泛青，器物裏外釉面較均勻。
3. 釉面青白證明絕非是現代瓷器: 永樂青花瓷的釉面青白程度較元代 (1206 -1368) 有所減弱，釉面青白為整個明代傳統燒造方法所致，因釉料中摻有草木灰，並用木柴燒，所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同，因此釉面無此青白色。
4. 碗底心外凸內凹, 釉底白釉勻凈, 底足亦施釉，證明絕對是永樂青花瓷: 永樂青花瓷的碗底心多是外凸內凹。永樂青花瓷的碗底若施釉，釉底白釉勻凈，底足多施釉。
5. "永樂年製"的四字篆字款證明是"官窯"永樂青花瓷: 永樂青花瓷一般無款識，只有極少數有年款。只有官窯壓手杯中見有“永樂年製”的四字篆字款，圍以雙圈線、單圈線和花瓣飄帶等。
6. 圈足低而薄且為倒八字梯形(即上大下小), 證明是明代青花瓷製品。
7. 輕叩碗壁發出鏗鏘清脆的金屬聲, 證明是明朝時期瓷器製品: 原料純淨度高的明朝時期瓷器，在輕叩時，會發出類似金屬的清脆聲音。
8. 碗底"永樂年製"的四字篆字款、與外碗壁上芭蕉葉、及外碗壁上的花朵等青花紋飾色澤濃豔之青花燒成部分, 必須經過放大倍數觀察後, 方可視及其留下“蘇麻離青”鈷料的黑疵斑點(即凹陷胎骨並具閃銀白色"錫光"的黑色斑點), 證明是明代永樂青花"官窯"的精緻細膩瓷製品: 永樂青花主要是用“蘇麻離青”鈷料(即永樂宣德時期所大量使用的蘇麻離青料)，燒造時有其自然的暈散現象。由於蘇麻離青含錳量低、含鐵量高，降低了呈色中的紅、紫色調，在適當的火候下就能燒出濃艷的青藍色，猶如寶石藍一般的光澤，色彩雅致凝重，鮮艷奪目，層次分明。不過由於蘇麻離青料含鐵量高，往往會在青花燒成部分留下一些黑疵斑點，且蘇麻離青料的進口來源及其產地供應，在現代皆已是不可考，也無法取得其貨源，故已成為考證明代青花瓷的重要憑據。
9. 此碗之重量非常輕 (僅323公克) 且平均分配，因其金屬元素已在土中流失甚多，證明確是1403 – 1424年間製成品，現代瓷器的金屬元素尚未流失，重量無法達到如此輕盈的程度，重量也無法平均分配，往往上輕下重。
+++++
A Blue and White Red-glazed Doucai Sea Waves Shrimp Birds and Beasts Bowl
Wanli Period (1573 - 1620), Six-character Seal-mark, Ming Dynasty.
大明萬曆年製青花礬紅彩鬥彩海浪蝦禽獸紋大碗
碗徑 Diameter 19.5 cm x 高 H 8.5 cm 公分
圈足徑 Round Base-stand Diameter 8.2 cm x 高 H 1.2 cm 公分 圈足底露胎無釉 The bottom of round base-stand is not glazed.
重量 Weight 644 grams 公克
1. This bowl was using techniques of to outline and to paint colors. It appears to be simple and lack of structure. But that is the basic style of Wanli Period porcelain in Ming Dynasty.
2. The color of glaze surface being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: The color of glaze surface being greenish-white is owing to the traditional firing method in Ming Dynasty. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.
3. The burned splendid heavy blue and white decorations on the glaze of the bowl can be visually seen the black cobalt material defects spots (i.e. the black depressed shallow holes on porcelain body with a flash of silver-white tin light) formed by the Sumali-smalt green dyestuff. This proves that it was a blue and white porcelain product made in Ming Dynasty: The blue and white porcelain product made in Ming Dynasty was mainly painted with the Sumali-smalt green dyestuff (i.e. the Sumali-smalt green dyestuff was heavily used in Yongle and Xuande period) that will create a natural misty phenomenon under firing. Because the Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown, so with an appropriate level of firing attainment a splendid heavy green and blue color can be burnt out, such as the blue gloss of a sapphire, with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defects spots to be left at the blue and white firing parts. Besides the supply source of imports and its origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply can not be obtained. Therefore its usage has become an important research evidence to authenticate the blue and white porcelain products in Ming Dynasty.
4. The glaze surface on the internal bowl can be seen visible clam light from its side view for the sake of old ages. This proves that it is by no means a modern porcelain product.
5. Under a magnifying glass the glaze bubbles of different sizes on bowl surface are not neat. This is completely different from those bubbles with same size and being fine, neatly spread on a typical modern imitation product. This proves that it is by no means a modern porcelain product.
1. 此碗採用勾勒填色之法，顯得單一，缺乏層次，但這正是大明萬曆年製瓷器的基本風格。
2. 釉面青白證明絕非是現代瓷器: 釉面青白為整個明代傳統燒造方法所致，因釉料中摻有草木灰，並用木柴燒，所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同，因此釉面無此青白色。
3. 碗釉面青花紋飾色澤濃豔之青花燒成部分, 可見“蘇麻離青”鈷料的黑疵斑點(即凹陷胎骨並具閃銀白色"錫光"的黑色斑點), 證明是明代青花瓷製品: 明代青花主要是用“蘇麻離青”鈷料(即永樂宣德時期所大量使用的蘇麻離青料)，燒造時有其自然的暈散現象。由於蘇麻離青含錳量低、含鐵量高，降低了呈色中的紅、紫色調，在適當的火候下就能燒出濃艷的青藍色，猶如寶石藍一般的光澤，色彩雅致凝重，鮮艷奪目，層次分明。不過由於蘇麻離青料含鐵量高，往往會在青花燒成部分留下一些黑疵斑點，且蘇麻離青料的進口來源及其產地供應，在現代皆已是不可考，也無法取得其貨源，故已成為考證明代青花瓷的重要憑據。
4. 碗底內部釉面側看可見蛤蜊光，此是年代久遠的緣故，證明絕非是現代瓷器。
5. 放大鏡下能見碗釉面氣泡之大小不一也不整齊，此與典型現代仿品氣泡為大小相同、且細密、整齊者為完全不同，證明絕非是現代瓷器。
++014++
A Blue and White Red-glazed Sea Waves Shrimp Birds and Beasts Dish
Wanli Period (1573 - 1620), Six-character Seal-mark, Ming Dynasty.
大明萬曆年製青花礬紅彩海浪蝦禽獸紋盤
盤徑 Diameter 21.8 cm x 高 H 4.3 cm 公分
圈足徑 Round Base-stand Diameter 12.8 cm x 高 H 0.8 cm 公分 圈足底露胎無釉 The bottom of round base-stand is not glazed.
重量 Weight 600 grams 公克
1. This dish was using techniques of to outline and to paint colors. It appears to be simple and lack of structure. But that is the basic style of Wanli Period porcelain in Ming Dynasty.
2. The color of glaze surface being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: The color of glaze surface being greenish-white is owing to the traditional firing method in Ming Dynasty. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.
3. The burned splendid heavy blue and white decorations on the glaze of the dish can be visually seen the black cobalt material defects spots (i.e. the black depressed shallow holes on porcelain body with a flash of silver-white tin light) formed by the Sumali-smalt green dyestuff. This proves that it was a blue and white porcelain product made in Ming Dynasty: The blue and white porcelain product made in Ming Dynasty was mainly painted with the Sumali-smalt green dyestuff (i.e. the Sumali-smalt green dyestuff was heavily used in Yongle and Xuande period) that will create a natural misty phenomenon under firing. Because the Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown, so with an appropriate level of firing attainment a splendid heavy green and blue color can be burnt out, such as the blue gloss of a sapphire, with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defects spots to be left at the blue and white firing parts. Besides the supply source of imports and its origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply can not be obtained. Therefore its usage has become an important research evidence to authenticate the blue and white porcelain products in Ming Dynasty.
4. The glaze surface on the external dish can be seen visible clam light from its side view for the sake of old ages. This proves that it is by no means a modern porcelain product.
5. Under a magnifying glass the glaze bubbles of different sizes on dish surface are not neat. This is completely different from those bubbles with same size and being fine, neatly spread on a typical modern imitation product. This proves that it is by no means a modern porcelain product.
1. 此盤採用勾勒填色之法，顯得單一，缺乏層次，但這正是大明萬曆年製瓷器的基本風格。
2. 釉面青白證明絕非是現代瓷器: 釉面青白為整個明代傳統燒造方法所致，因釉料中摻有草木灰，並用木柴燒，所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同，因此釉面無此青白色。
3. 盤釉面青花紋飾色澤濃豔之青花燒成部分, 可見“蘇麻離青”鈷料的黑疵斑點(即凹陷胎骨並具閃銀白色"錫光"的黑色斑點), 證明是明代青花瓷製品: 明代青花主要是用“蘇麻離青”鈷料(即永樂宣德時期所大量使用的蘇麻離青料)，燒造時有其自然的暈散現象。由於蘇麻離青含錳量低、含鐵量高，降低了呈色中的紅、紫色調，在適當的火候下就能燒出濃艷的青藍色，猶如寶石藍一般的光澤，色彩雅致凝重，鮮艷奪目，層次分明。不過由於蘇麻離青料含鐵量高，往往會在青花燒成部分留下一些黑疵斑點，且蘇麻離青料的進口來源及其產地供應，在現代皆已是不可考，也無法取得其貨源，故已成為考證明代青花瓷的重要憑據。
4. 盤之外方釉面側看可見蛤蜊光，此是年代久遠的緣故，證明絕非是現代瓷器。
5. 放大鏡下能見盤釉面氣泡之大小不一也不整齊，此與典型現代仿品氣泡為大小相同、且細密、整齊者為完全不同，證明絕非是現代瓷器。
++015++
A Large Blue and White Fish Algae Lotus Dish Xuande Period 大明宣德年製官窯青花魚藻纏枝蓮花卉紋大盤
A Large Blue and White Fish Algae Lotus Dish Imperial Palace Workshop Xuande Period (1426 - 1435) Ming Dynasty
大明宣德年製官窯青花魚藻纏枝蓮花卉紋大盤
A Rare and Fine Large Blue and White Fish Algae Lotus Dish
Imperial Palace Workshop Xuande Period (1426 - 1435) Six-character Seal-mark Ming Dynasty
罕見精品大明宣德年製 (1426 - 1435) 官窯青花魚藻纏枝蓮花卉紋大盤
盤徑 Diameter 45 cm x 高 H 7.5 cm 公分
雙圈足︰
外圈足徑 Outer Round Base-stand Diameter 25.5 cm x 高 H 0.8 cm 公分
內圈足徑 Inner Round Base-stand Diameter 9.5 cm x 高 H 0.7 cm 公分
1. The porcelain body has the features of Xuande blue and white porcelain: the porcelain body of Xuande blue and white porcelain is thicker and heavier than those similar artifacts made in Yongle Period, designed in regular and generous shape, and had hard and white quality of porcelain.
2. The glaze has also the features of Xuande blue and white porcelain: the glaze of Xuande blue and white porcelain is hyper-thick. It is usually not very flat, like orange peel. The color of glaze has mostly a pale greenish tinge out of white.
3. The color of glaze surface being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: the glaze surface of Xuande blue and white porcelain is greenish-white. The color of glaze surface being greenish-white is owing to the traditional firing method in Ming Dynasty. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.
4. The Six-character Seal-mark “Made in Xuande Years of Great Ming” in two vertical rows at the outer bottom of the dish being inscribed with a missing horizontal cross line in the middle of the Chinese character “de” has proved that it was made by the imperial court-operated kiln (Imperial Palace Workshop) of Xuande blue and white porcelain: the Six-character Seal-mark “Made in Xuande Years of Great Ming” of Xuande blue and white porcelain made by the imperial court-operated kiln was inscribed with a missing horizontal cross line in the middle of the Chinese character “de” in order to respect the Emperor Xuande. This large dish has exquisite workmanship. Its blue and white color is gorgeous. It is also well-preserved and has become a top grade work of art among those similar artifacts to be handed down to posterity.
5. Tapping the dish wall issuing a sonorous and clear metallic sound proves that it is a porcelain product made in Ming Dynasty: tapping the Ming Dynasty porcelain that has high purity of raw materials will issue crisp sound similar to that of metal.
6. The burned splendid heavy blue and white decorations on the glaze surface of the dish can be visually seen the little black cobalt material defects spots (i.e. the little black depressed shallow holes on porcelain body with a flash of silver-white tin light) formed by the Sumali-smalt green dyestuff. This proves that it was delicately and finely made by the imperial court-operated kiln (Imperial Palace Workshop) of Xuande blue and white porcelain: Xuande blue and white porcelain was mainly glazed with the Sumali-smalt green dyestuff (i.e. the Sumali-smalt green dyestuff was heavily used in Yongle and Xuande period) that will create a natural misty phenomenon under firing. Because the Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown, so with an appropriate level of firing attainment a splendid heavy green and blue color can be burnt out, such as the blue gloss of a sapphire, with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defects spots to be left at the blue and white firing parts. Besides the supply source of imports and its origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply can not be obtained. Therefore its usage has become an important research evidence to authenticate the blue and white porcelain products in Ming Dynasty.
1. 瓷胎具備宣德青花瓷之特點: 宜德時期的青花瓷的胎體，比永樂時期的同類器物要厚重，器形規整大方，胎質堅硬潔白。
2. 釉面亦具備有宣德青花瓷之特點: 宣德時期釉面的釉子肥厚，不太平整，像橘子皮，釉色大多白中泛青。
3. 釉面青白證明絕非是現代瓷器: 宣德青花瓷的釉面青白，釉面青白為整個明代傳統燒造方法所致，因釉料中摻有草木灰，並用木柴燒，所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同，因此釉面無此青白色。
4. 盤底"大明宣德年製"的二直排六字楷書款之"德"字中間少一橫，證明是"官窯"宣德青花瓷: "大明宣德年製"的"官窯"宣德青花瓷，其六字楷書款之"德"字中間少一橫，表示對宣德皇帝的尊敬之意。此大盤之製作工藝精湛，青花發色豔麗，保存完好，為傳世同類器物中之上品。
5. 輕叩盤壁發出鏗鏘清脆的金屬聲, 證明是明朝時期瓷器製品: 原料純淨度高的明朝時期瓷器，在輕叩時，會發出類似金屬的清脆聲音。
6. 盤上釉面青花紋飾色澤濃豔之青花燒成部分,可視及其留下“蘇麻離青”鈷料的微小黑疵斑點(即凹陷胎骨並具閃銀白色"錫光"的微小黑色斑點), 證明是明代宣德青花"官窯"的精緻細膩瓷製品: 宣德青花主要是用“蘇麻離青”鈷料(即永樂宣德時期所大量使用的蘇麻離青料)，燒造時有其自然的暈散現象。由於蘇麻離青含錳量低、含鐵量高，降低了呈色中的紅、紫色調，在適當的火候下就能燒出濃艷的青藍色，猶如寶石藍一般的光澤，色彩雅致凝重，鮮艷奪目，層次分明。不過由於蘇麻離青料含鐵量高，往往會在青花燒成部分留下一些黑疵斑點，且蘇麻離青料的進口來源及其產地供應，在現代皆已是不可考，也無法取得其貨源，故已成為考證明代青花瓷的重要憑據。
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A five-colored bottle vase opened the European Voyage Age of Discovery 五彩天球甁開啟歐洲大航海時代
A Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Bottle Vase 明朝正統年製官窯釉下彩五彩歐洲使節天朝進貢天球瓶
A Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Ming Dynasty
明朝正統年製官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶
A Rare and Fine Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping
Imperial Palace Workshop Zhengtong Period (1436 - 1449) Four-character Seal-mark Ming Dynasty
罕見精品明朝正統年製 (1436 - 1449) 官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶
腹徑 Abdomen Diameter 23.5 cm x 高 H 37 cm 公分
口徑 Top Diameter 8.2 cm 公分
圈足徑 Round Base-stand Diameter 11 cm 公分
1. The porcelain body has the features of Ming Dynasty porcelain: the porcelain body of Ming Dynasty porcelain is designed in regular and generous shape, and had hard and white quality of porcelain.
2. The color of glaze surface inside the bottle vase being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: the glaze surface of Ming Dynasty porcelain is greenish-white. The color of glaze surface being greenish-white is owing to the traditional firing method in Ming Dynasty. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.
3. According to historical records, in Ming Dynasty Zhengtong Year 3 (A.D. 1438), Ming Sovereign had prohibited the civil kilns to fire porcelain products that have the same styles as those made by the Imperial Palace Workshops. In Ming Dynasty Zhengtong Year 12 (A.D. 1447), Ming Sovereign had also banned the civil kilns to fire porcelain products that have yellow, purple, red, green, smalt, blue, and white groundings in private. This bottle vase has a blue grounding on it and was made in Zhengtong Period (1436 - 1449). Obviously it was indeed a porcelain product made by Imperial Palace Workshop. Besides it has exquisite workmanship, gorgeous under-glazed five-colored Wucai colors. It is also well-preserved and has become a top grade work of art among those similar artifacts made by Imperial Palace Workshops to be handed down to posterity.
4. Tapping the bottle vase wall issuing a sonorous and clear metallic sound proves that it is a porcelain product made in Ming Dynasty: tapping the Ming Dynasty porcelain that has high purity of raw materials will issue crisp sound similar to that of metal.
5. According to historical records, in Zhengtong Period (1436 - 1449) Ming Dynasty, both imperial court-operated kilns (Imperial Palace Workshops) and civil private kilns have had porcelain firings and productions. But the porcelain works of art handed down to posterity, so far have not been found any one single piece to be made by Imperial Palace Workshops and inscribed with "Made in Zhengtong Years". So there are the said terminologies of "Blank Period" and "Three Dark Dynasties" of porcelain products academically. But these academic alleged terminologies are meant to the imperial kilns (Imperial Palace Workshops), not to the civil private kilns. The productions of civil private kilns, just like those in other dynasties, have never been stopped. But from the view of the productions of imperial kilns in Zhengtong Period, it was still a blank period.
(1) This Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping made by Imperial Palace Workshop in Zhengtong Period (1436 - 1449) has clearly explained the reason why so far not any one single piece made by Imperial Palace Workshops and inscribed with "Made in Zhengtong Years" to be found in "Blank Period" and "Three Dark Dynasties" of porcelain products:
(2) In the early Ming Dynasty, Ming Sovereign had executed a diplomatic tributary system. The tributary trade of Ming Sovereign received little from a tributary country, but was paying back with extremely high returns. If you want to do business in China, it is necessary to follow this tributary system, otherwise you are not to be granted. This is the so-called tributary trade. In the 13th century, there are already many European envoys along the Silk Road coming to the capital of China in Yuan Dynasty (1206 - 1368) to meet the Mongol Khan. On this more than 7,000 kilometers of Silk Road, porcelain products originated in China have long been a symbol of a powerful and prosperous East Asian civilization.
(3) Because the porcelain products spread to Europe in the west were at extraordinarily high prices, so that a considerable number of Europeans had been convinced of that China and East Asia must have been a property of the abundance of wealth. The European Majesties and Lords once were used to having home porcelain as a rich symbol of glory.
(4) Since this Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping made by Imperial Palace Workshop in Zhengtong Period (1436 - 1449) Ming Dynasty was painted on the bottle vase with the scenery of European envoy presenting his tribute to the Ming Emperor, this proves that the porcelain products of imperial kilns in Zhengtong Period Ming Dynasty were all handed over to European envoys by Ming government and transported to Europe through the diplomatic tributary trades, and none were left in China.
(5) On account of this reason, and besides the colors of under-glazed five-colored Wucai porcelain products made by imperial kilns in Zhengtong Period (1436 - 1449) Ming Dynasty were really extraordinarily fine and gorgeous, the European Majesties and Lords must have been astonished at their wonderful colorful five-colored beauties as being from a heavenly country, already beyond their original longing images upon the gorgeous blue and white porcelain from Yuan and Ming dynasties in China, such as a new era from a black and white TV world to the colored one. Therefore they regarded the greater East Asia and China as an area with incredibly rich and affluent properties, and where they could not be not to go. They had to avoid the historical Silk Road, decided to open the European Voyage Age of Discovery directly, and had strong and fearless attempt to select another alternative sea route to trade with East Asia and China.
(6) Therefore, King John II of Portugal commanded Bartolomeu Dias to be departed in 1487 trying the rounding sea of the southern tip of Africa, then Cape of Good Hope was discovered. This indicated that the sea route to the richness of the greater East Asia and China via Indian Sea was accessible.
(7) Queen Isabel I of the Kingdom of Castile Spain supported the exploration of Christopher Columbus in 1492 to expect his finding another sea route sailed westward from Europe to Indian Sea.
(8) Under the command of new king Manuel I of Portugal, Vasco da Gama discovered a new sea route directly from Europe to India in 1498. Thus the Silk Road on land was no longer the only way to the eastern market.
(9) Italian explorer Amerigo Vespucci who was under command of Spanish King discovered a new continent of America from 1499 to 1504.
(10) In May 1513 Jorge Álvares, one of the European Portuguese envoys, finally reached China from the sea route. It was Rafael Perestrello—a cousin of the famed Christopher Columbus—who became the first European explorer to land on the southern coast of mainland China and trade in Guangzhou in 1516. Fernão Pires de Andrade visited Canton in 1517 and opened up trade with China.
(11) But the Portuguese begun to invade China in 1521 to force China to open trade ports, and Tuenmun naval battle was then broken out. In 1553 the Portuguese finally was granted by the Chinese Ming government to establish the colony of Macau. Dutch occupied the Penghu Isles near Taiwan twice, and Penghu naval battle was broken out. Dutch afterwards occupied the island of Taiwan instead. The Spaniard also gained control of Taiwan's northern Keelung. Holland and Spain two countries began to have Taiwan as a colony for ports of trading with the Chinese Ming government.
1. 瓷胎具備明朝瓷器之特點: 明朝時期瓷器的胎體，器形規整大方，胎質堅硬潔白。
2. 天球瓶內釉面青白證明絕非是現代瓷器: 明朝時期瓷器的釉面青白，釉面青白為整個明代傳統燒造方法所致，因釉料中摻有草木灰，並用木柴燒，所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同，因此釉面無此青白色。
3. 據文獻記載，明朝正統三年 (西元1438年) 曾經禁止民窯燒造和官窯器式樣相同的瓷器; 明朝正統十二年 (西元1447年) 亦有不准民窯私造黃、紫、紅、綠、青、藍、白地等瓷器的禁令。此天球瓶是正統年製藍地瓷器，明顯的確是官窯器，且其製作工藝精湛，釉下彩五彩發色豔麗，保存完好，為官窯傳世同類器物中之上品。
4. 輕叩天球瓶壁發出鏗鏘清脆的金屬聲, 證明是明朝時期瓷器製品: 原料純淨度高的明朝時期瓷器，在輕叩時，會發出類似金屬的清脆聲音。
5. 從文獻記載，正統時期不論官、民窯器都曾有燒造。但傳世品中至今未見一件署年款 (正統年製) 的官窯瓷器，所見瓷器均為民窯所產，故學術界有"空白期"和"黑三代"之稱。學術界所稱係指官窯，並非民窯。就民窯生產來說，它和其他朝代一樣，並未間斷過，但就官窯生產來看，正統時期仍然是一個空白期。
(1) 而此件明朝正統年製 (1436 - 1449) 官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶，正可明確解釋為何傳世品中至今未見一件署年款 (正統年製) 的"空白期"和"黑三代"官窯瓷器的原因︰
(2) 明朝初年，外交實施朝貢體制，朝貢貿易薄來厚往，如果要來中國做生意，必需朝貢兼貿易，否則不予，這就是所謂的朝貢貿易。13世紀時代，即有不少歐洲使節沿絲綢之路來到中國元朝 (1206 - 1368) 的都城拜見蒙古大汗。而在這逾 7000 公里的絲綢之路上，原產於中國的瓷器，早已成為當時一個東亞強盛文明的象徵。
(3) 由於西傳至歐洲的瓷器價格奇高，令相當多的歐洲人認為中國乃至東亞是一個物產豐盈的富裕地區，歐洲各國元首及貴族曾一度以家中使用瓷器為富有榮耀的象徵。
(4) 既然此件明朝正統年製 (1436 - 1449) 官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶，瓶上所繪製的正是歐洲使節天朝進貢人物風景圖，證明明朝正統年製 (1436 - 1449) 的官窯瓷器，皆是由明朝政府交予往來朝貢貿易的歐洲使節全部運往歐洲，並未留在中國。
(5) 正因如此，由於明朝正統年製 (1436 - 1449) 官窯釉下彩五彩瓷器的色彩真是太過於精美豔麗，使歐洲各國元首及貴族驚為彩色之五彩天物，早已經超越歐洲人原先對於中國元、明兩朝青花磁器豔麗之嚮往，正如同從黑白電視世界進入彩色電視的新世紀一般，而更加認為大東亞及中國乃是一個物產無比豐盈的富裕地區，不可不去，遂有避開歷史絲綢之路，決定直接開啟歐洲之大航海時代，選擇另一條由海路直接通商大東亞及中國之堅強無畏企圖。
(6) 因此1487年迪亞士受葡萄牙國王若昂二世之命令出發尋找環繞非洲大陸最南端的海洋，因而發現了好望角，這意味著經由印度洋航線進入富有的大東亞及中國的海路已是可行。
(7) 1492年西班牙卡斯蒂利亞王國伊莎貝拉一世女王資助了克里斯多福·哥倫布的探險活動，希望他能找到從歐洲向西航往印度洋的路線。
(8) 在葡萄牙新國王曼努埃爾一世的命令下，1498年瓦斯科·達伽馬發現了從歐洲直接通往印度的新航線，使得陸上絲綢之路不再是通往東方市場的唯一途徑。
(9) 1499年－1504年間，為西班牙國王效勞的義大利人阿美利哥·維斯普西發現了新大陸亞美利加洲（America）。
(10) 1513年5月眾多歐洲葡萄牙使節中之一位歐維士特使終於從海路抵達中國。但卻是有名的克里斯多福·哥倫布的堂兄弟拉斐爾·佩雷友，於1516年成為第一位抵達中國南方海岸並登上中國土地，且於廣州進行商業貿易的歐洲探險家。費爾南皮雷斯·德·安德拉德於1517年到訪廣東並與中國開始通商貿易。
(11) 但葡萄牙人卻於1521年開始以武力入侵中國，強逼中國開放國門通商，爆發屯門海戰。1553年葡萄牙人終於得到中國明朝政府批准，建立了澳門殖民地。荷蘭人則先後二次侵佔澎湖，爆發澎湖海戰，後改為攻佔台灣島。西班牙人亦攻佔台灣北部基隆。荷蘭、西班牙兩國皆以台灣為殖民地，作為與中國明朝政府通商貿易的港口。
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An Eggshell Blue and White Playing Kids Bowl Yongle Period 明永樂年製官窯薄胎青花嬰戲圖大碗
An Eggshell Thin Blue and White Playing Kids and Flower Bowl Imperial Palace Workshop Yongle Period (1403 - 1424) Ming Dynasty
明永樂年製官窯薄胎青花人物花卉紋嬰戲圖大碗
A Very Fine and Rare Eggshell Thin Blue and White Playing Kids and Flower Bowl
Imperial Palace Workshop, Yongle Period (1403 - 1424), Four-character Seal-mark, Ming Dynasty.
罕見精品明永樂年製 (1403 - 1424) 官窯薄胎青花人物花卉紋嬰戲圖大碗
碗徑 Diameter 24.4 cm x 高 H 9.5 cm 公分
圈足徑 Round Base-stand Diameter 10 cm x 高 H 1 cm 公分
碗壁厚度 Bowl Wall Thickness 0.1 cm 公分
重量 Weight 323 grams 公克
1. The porcelain body has the features of Yongle blue and white porcelain: Dignity and beauty with very soft and smooth utensils lines, to pay much attention to repair the porcelain body, the shape is very structured. The porcelain body is pure due to careful refining and containing little impurities. Thus the porcelain body is delicate and the color of body is white with moderate thickness and smartly dignified, lighter and thinner than those bodies done in Hongwu Period (1368 - 1398) Ming Dynasty.
2. The glaze has also the features of Yongle blue and white porcelain: Due to the increase of firing temperature in Yongle Period, the surface of glaze is fine, smooth, shiny, flat and clean, having no orange peel glaze pattern. The color of glaze surface is mostly greenish-white and the artworks are evenly glazed inside and outside.
3. The color of glaze surface being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: The color of Yongle blue and white porcelain glaze surface is lighter than that in Yuan Dynasty (1206 -1368). The color of glaze surface being greenish-white is owing to the traditional firing method in Yongle Period. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.
4. The bottom heart of bowl being outer-convex and inner-concave, the outer-bottom being uniformly white glazed, and the round bottom base-stand being also glazed prove that it is definitely Yongle blue and white porcelain: The bottom heart of bowl of Yongle blue and white porcelain is always outer-convex and inner-concave. The outer-bottom of the Yongle blue and white porcelain bowl, if glazed, its glaze must have been uniformly white glazed, and the round bottom base-stand is also having been glazed.
5. The Four-character Seal-mark “Made in Yongle Years” has proved that it was made by the imperial court-operated kiln (Imperial Palace Workshop) of Yongle blue and white porcelain: Yongle blue and white porcelain has generally no seal-mark, except only a few models. Only the hand cups made by the imperial court-operated kiln of Yongle blue and white porcelain have been seen being inscribed with the Four-character Seal-mark “Made in Yongle Years” written in the ancient calligraphic seal type, surrounded with double circle lines, single circle line, or flower petals with ribbons.
6. The round bottom base-stand being low and thin to form a V shape trapezoid (i.e. big upper and small lower round bottom base-stand) proves that it is a blue and white porcelain product made in Ming Dynasty.
7. Tapping the bowl wall issuing a sonorous and clear metallic sound proves that it is a porcelain product made in Ming Dynasty: tapping the Ming Dynasty porcelain that has high purity of raw materials will issue crisp sound similar to that of metal.
8. The burned splendid heavy blue and white decorations on the Four-character Seal-mark “Made in Yongle Years” inscribed at the outer-bottom of the bowl, the banana leaves and the flowers painted at the outer bowl wall, after having to go through the magnification observation, can be visually seen the black cobalt material defects spots (i.e. the black depressed shallow holes on porcelain body with a flash of silver-white tin light) formed by the Sumali-smalt green dyestuff. This proves that it was delicately and finely made by the imperial court-operated kiln (Imperial Palace Workshop) of Yongle blue and white porcelain: Yongle blue and white porcelain was mainly glazed with the Sumali-smalt green dyestuff (i.e. the Sumali-smalt green dyestuff was heavily used in Yongle and Xuande period) that will create a natural misty phenomenon under firing. Because the Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown, so with an appropriate level of firing attainment a splendid heavy green and blue color can be burnt out, such as the blue gloss of a sapphire, with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defects spots to be left at the blue and white firing parts. Besides the supply source of imports and its origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply can not be obtained. Therefore its usage has become an important research evidence to authenticate the blue and white porcelain products in Ming Dynasty.
9. The weight of this bowl is very light (only 323 grams) and evenly distributed due to the loss of its metal elements in the soil quite a lot. This proves that it was indeed a finished product during 1403 – 1424. The metal elements of modern porcelain have not been lost yet, thus modern one can not achieve such a light degree of weight. The weight of modern one is also not evenly distributed, often lighter at the upper and heavier at the lower.
1. 瓷胎具備永樂青花瓷之特點: 端莊秀美，器物線條非常柔美流暢。講究修胎，器形十分規整。瓷胎由於注意淘煉，胎質純，含雜質少，胎質細膩，胎色潔白，胎體厚薄適度，靈巧凝重，較之洪武朝 (1368 - 1398) 普遍輕薄一些。
2. 釉面亦具備有永樂青花瓷之特點: 永樂時期由於燒造溫度的提高，釉面細膩、光滑、瑩潤、平凈，絕無橘皮釉紋。釉色大多白中泛青，器物裏外釉面較均勻。
3. 釉面青白證明絕非是現代瓷器: 永樂青花瓷的釉面青白程度較元代 (1206 -1368) 有所減弱，釉面青白為整個明代傳統燒造方法所致，因釉料中摻有草木灰，並用木柴燒，所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同，因此釉面無此青白色。
4. 碗底心外凸內凹, 釉底白釉勻凈, 底足亦施釉，證明絕對是永樂青花瓷: 永樂青花瓷的碗底心多是外凸內凹。永樂青花瓷的碗底若施釉，釉底白釉勻凈，底足多施釉。
5. "永樂年製"的四字篆字款證明是"官窯"永樂青花瓷: 永樂青花瓷一般無款識，只有極少數有年款。只有官窯壓手杯中見有“永樂年製”的四字篆字款，圍以雙圈線、單圈線和花瓣飄帶等。
6. 圈足低而薄且為倒八字梯形(即上大下小), 證明是明代青花瓷製品。
7. 輕叩碗壁發出鏗鏘清脆的金屬聲, 證明是明朝時期瓷器製品: 原料純淨度高的明朝時期瓷器，在輕叩時，會發出類似金屬的清脆聲音。
8. 碗底"永樂年製"的四字篆字款、與外碗壁上芭蕉葉、及外碗壁上的花朵等青花紋飾色澤濃豔之青花燒成部分, 必須經過放大倍數觀察後, 方可視及其留下“蘇麻離青”鈷料的黑疵斑點(即凹陷胎骨並具閃銀白色"錫光"的黑色斑點), 證明是明代永樂青花"官窯"的精緻細膩瓷製品: 永樂青花主要是用“蘇麻離青”鈷料(即永樂宣德時期所大量使用的蘇麻離青料)，燒造時有其自然的暈散現象。由於蘇麻離青含錳量低、含鐵量高，降低了呈色中的紅、紫色調，在適當的火候下就能燒出濃艷的青藍色，猶如寶石藍一般的光澤，色彩雅致凝重，鮮艷奪目，層次分明。不過由於蘇麻離青料含鐵量高，往往會在青花燒成部分留下一些黑疵斑點，且蘇麻離青料的進口來源及其產地供應，在現代皆已是不可考，也無法取得其貨源，故已成為考證明代青花瓷的重要憑據。
9. 此碗之重量非常輕 (僅323公克) 且平均分配，因其金屬元素已在土中流失甚多，證明確是1403 – 1424年間製成品，現代瓷器的金屬元素尚未流失，重量無法達到如此輕盈的程度，重量也無法平均分配，往往上輕下重。
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Taiwan Web Museum
A Free Exhibition Museum in the Internet World
台灣網路藝術美術博物館
網路世界裡的免費博物館
台湾网络艺术美术博物馆
网络世界里的免费博物馆
Free Website to See Paintings by Chinese Artists
Listed in 2011 World Auction Revenue Top 30 and Rare Archaic Chinese Ancient
Antiques
觀賞2011年列名世界拍賣總收入前30名中國畫家名畫作品及中國古代罕見的古董之免費網址
Welcome to identify your Chinese Paintings and Works
of Art! Our help is free of charge!
歡迎辨識您的中國書畫及藝術品! 我們的協助是免費的!
Mr. Orion Hsu & Brothers (徐氏兄弟珍藏文物)
Private Museum preparatory office
中國書畫文物博物館籌備企劃辦公室
台灣橫貫公路風景美圖
The beautiful landscape scenery photos of Taiwan
Cross-Island Road
125 張精美照片 125 fine
photos
For
more newly revised information please also visit http://www.flickr.com/photos/orionmuseum/
欲知最新增添資料亦請閱覽網址 http://www.flickr.com/photos/orionmuseum/
We are not artists. We collect paintings and works of art and make deals. At present we are making deals with famous governmental museums, but usually it takes several months to run the necessary governmental purchasing procedures. Once we get millions of funds from selling few of what we have already collected, we could become an art buyer again at any moment for certain, because we do have done collecting several hundred millions worth of art for decades by interests. So an art seller can also be an art buyer up to the different market situation that is going on.
我們不是藝術家. 我們收藏書畫及藝術品也進行交易. 目前我們正在與有名的政府設立美術博物館交易中, 但是需要費時數月來完成必要的政府採購程序. 一旦我們從銷售我們收藏品的部分而得到數百萬美元的資金時, 我們確定也將再成為藝術品的收購者, 因為基於興趣我們已經收藏有價值數億美元的藝術品達數十年之久. 因此, 一位藝術品的賣方也可能是一位藝術品的買方, 完全視不同的市場狀況演變而定.
Be a good seller and be a good buyer!
成為一個好賣方及成為一個好買方!
A good seller will sell bona fide!
一個好賣方將誠實無欺地賣出!
A good buyer will learn everything necessary to buy lest he/she should pay the tuition fee for practice!
一個好買方將學習如何買的一切必要知識以免繳交練習學費!
參考文字 Reference Words :
張大千 Zhang Daqian 张大千 齊白石 Qi Baishi 齐白石 徐悲鴻 Xu Beihong 徐悲鸿 吳冠中 Ｗu Guanzhong 吴冠中 傅抱石 Fu Baoshi 傅抱石 李可染 Li Keran 李可染 陸儼少 Lu Yanshao 陆俨少 黃冑 Huang Zhou 黃冑 趙無極 Zao Wou-ki 赵无极 黃賓虹 Huang Binhong 黄宾虹 吳昌碩 Wu Changshuo 吴昌硕 林風眠 Lin Fengmian 林风眠 曾梵志 Zeng Fanzhi 曾梵志 范曾 Fan Zeng 范曾 王蒙 Wang Meng 王蒙 吳湖帆 Wu Hufan 吴湖帆 王翬 Wang Hui 王翚 謝稚柳 Xie Zhiliu 谢稚柳 Tang Yin 唐寅 Pu Ru 愛新覺羅 溥儒 Pu Xinyu 溥心畬 愛新覺羅溥佐 Aisin Gioro Pu Zuo 趙少昂 Zhao Shao’Ang 赵少昂 關山月 Guan Shanyue 关山月 黃君璧 Huang Junbi 黄君璧 何海霞 He Haixia 何海霞 高逸鴻 Gao Yihong 高逸鸿 顏伯龍 Yan Bolong 颜伯龙 唐雲 Tang Yun 唐云 豐子愷 Feng Zikai 丰子恺 田世光 Tian Shiguang 田世光 袁松年 Yuan Songnian 袁松年 高奇峰 Gao Qifeng 高奇峰 陳之佛 Chen Zhifo 陈之佛 陳半丁 Chen Banding 陈半丁 馮超然 Feng Chaoran 冯超然 鄭板橋 Zheng Banqiao 郑板桥 Xi Shi Diao Chan Yang Guifei Wang Zhaojun Top Beauties Ancient Modern history 西施 貂蟬 楊貴妃 王昭君 古代 美女 羊脂白玉 Mutton Fat White Jade 紅玉 Red 黃玉 Yellow 龍鳳呈祥珮 Dragon and Phoenix Pendant 龍形珮 Dragon Pendant 勾連雲紋 Linking Clouds 榖紋 Grain Totem 羊紋 Sheep Totem 玉琮 Cong 玉璧 Bi 巧雕 坐姿 雙峯 駱駝 Coincident Carved Sitting Double-humped Camel Taiwan Web Museum 台灣網路藝術美術博物館 台湾网络艺术美术博物馆 taiwanwebmuseum blogspot orionwebmuseum com orionandhsu orion hsu 台灣 Taiwan 台湾 Web 博物館 Museum 博物馆 免費 Free 免费 展覽 Exhibition 展览 網路 Internet 互联网 世界 World 世界 網站 Site 网站 中國 China 中国 藝術家 Artist 艺术家 藝術 Art 艺术 畫家 Painter 画家 拍賣 Auction 拍卖 Revenue 收入 2011 Rank List 列名 總收益 总收益 書法 畫家 Painter 画家 名畫 famous painting 名画 work 作品 address 网址 http Andy Warhol 安迪 沃霍尔 美金 Pablo Picasso 巴勃罗 毕加索 星雲 佛 Buddhist Master Qatar Antique 古董 來源 真 關鍵 台北 卡達 香港 Hong Kong 北京 Beijing 倫敦 London 佳士得 蘇富比 保利 Photo Dealer Gallery Sale Investment Beauty US UK USD Treasure Fortune Money Asian Culture Chinese Job Taipei Picasa Google Yahoo FB Facebook Flickr Twitter Wikipedia News TV Album Gmail Christie Sotheby Bonham Heritage Artprice Poly Image Actress Model Newspaper Information People Magazine Movie Star Hollywood Hot Top Pretty Sports Beautiful Pop Apple Jade Jewelry Picture Photograph New Agent Nice Shop Mail UK USA Oil Sculpture Girl Superb Rare Service Sell Catalog Ceramic Archaic Link Map View Feature Account Copy Print Auctioneer House Center Exposition Best Post Calligraphy Finance Financial Bank Spring Summer Fair Show Year Lady Furniture Tang Sung Yuan Ming Qing Shang Bronze Stone Face Good Funds Foundation Gates Fund Owner CEO Founder President Prime Minister Corp Company King Arab Prince Dubai Abu Dhabi UAE Official Carved Porcelain Archaic Xing Yun Mt. Fo Guang University Origin Authenticity Abstract Sculpture Dynasty Year Tag
Taiwan Web Museum
A Free Exhibition Museum in the Internet World
台灣網路藝術美術博物館
網路世界裡的免費博物館
台湾网络艺术美术博物馆
网络世界里的免费博物馆
Free Website to See Paintings by Chinese Artists
Listed in 2011 World Auction Revenue Top 30 and Rare Archaic Chinese Ancient
Antiques
觀賞2011年列名世界拍賣總收入前30名中國畫家名畫作品及中國古代罕見的古董之免費網址
Welcome to identify your Chinese Paintings and Works
of Art! Our help is free of charge!
歡迎辨識您的中國書畫及藝術品! 我們的協助是免費的!
Mr. Orion Hsu & Brothers (徐氏兄弟珍藏文物)
Private Museum preparatory office
中國書畫文物博物館籌備企劃辦公室
台灣橫貫公路風景美圖
The beautiful landscape scenery photos of Taiwan
Cross-Island Road
125 張精美照片 125 fine
photos
