Painter Jun said
Shallow and interesting deep art and aesthetic dry goods
Don't talk, show you a set of pictures.
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After watching so many typical cow hair, I believe you have guessed it, this is one of the four families of the Yuan, Wang Meng Wang Shuming's painting!
It is very difficult to meet Wang Meng in the auction market, not to mention wang Meng, who is large in size, good in appearance, and orderly, quite reliable, I believe that knowledgeable people have the same excitement as me.
More importantly, this Wang Meng, I also found a list that is not on the catalogue of an auction house, and it is quite authoritative ~ to be announced later~
First, let's take a look at this mysterious Wang Meng, what it looks like
LOT 671 Wang Meng Qing Xiang Fishing Diagram Mirror Heart Colored Paper
Size: Approx. 3.5 sq. ft. 87.6×44.3cm. (34 1/2×17 1/2 in.)
Estimate: HK$ 42,000,000 - 60,000,000
Title:
The Junjia is clear, and the fishing edge is in the shadows. Dew wet hibiscus moon, incense pinned to scoop the wind. Move the boat into the smoke, and the horizontal flute sits from the flower. Self-aware of the plane passenger, no intention to ask Sai Weng. Wang Shuming, a native of the Yellow Crane Mountains, painted and inscribed.
Inscription:
1. Draw the calligraphy of the model and ask for Dong Juzhong. The Song Dynasty wheel rice is old, and the five generations have Yang Feng. Twilight Smoke Cave, Akiyama Katsura tree from. Unfortunately, the yellow crane is old and has become a snow eyebrow man. Yanling Mountain Qiao Sui preliminary question.
2. In the smoke of the hut, take the leisure to manage the fishing wire. Phi Tu infinite meaning, the book this comforting lovesickness. Wenjiang Deng Jiuyuan. Seal: "Deng Jiuyuan Seal", "Jinlan Concentric"
Seal of Collection: "Seal of Authentic Treasure examined and approved by Mizumura Luquan", "Linghu Pavilion", "Seal of Appreciation of Zhu Qianpei"
illustrate:
1. "Seal of the Authentic Treasure of The Complete Examination of The Water Village" is the Seal of the Lu Completed Treasure. Lu Guan (1458-1526), also spelled Quanqing, was a native of Changzhou (present-day Suzhou, Jiangsu). Chenghua twenty-three years into the soldier, the official to the official Shangshu.
2. "Linglu Pavilion" is the seal of Jiang Biaojian. Jiang Biao (1860-1899) Late Qing Dynasty Restoration. Zi Jianxia, the number of the master, and self-signed the fence. A native of Yuanhe (present-day Suzhou), Jiangsu. Guangxu Jinshi. The editing of the Guan Hanlin Academy is similar to that of the Wenting style and Fei Nian Ci Nian, and it is equal. Gong poetry, good collection of books, there were collections in the previous generations, after the fire, there were not many suicide notes, he re-added the dove collection, heavy Song and Yuan engravings, old school copy, the collection is a fine product. The library has the "Spirit Crane Pavilion".
3. According to the notes of Muyan Zhai calligraphy and painting appreciation, it is recorded as the old collection of Sun Yangnong. Sun Yangnong (1901-1985), along with Yuan Shikai's son-in-law Xue Guanlan, was famous for studying Yu Shuyan. His grandfather was Sun Jianai (1827-1909), a former scholar of the ShuChen Dynasty. In the ninth year of Qing Xianfeng (1859), he was the same as the Guangxu Emperor with Weng Tonggong. Progressive Cabinet Bachelor.
Description:
1. Wang Keyu, Coral Net, vol. 11, p. 282, Complete Book of Chinese Calligraphy and Painting, vol. VIII, Shanghai Calligraphy and Painting Publishing House, 2009.
2. Bian Yongyu,"Shigutang Calligraphy and Painting Examination", vol. 21, p. 442. See Complete Book of Chinese Calligraphy and Painting, vol. 9, Shanghai Calligraphy and Painting Publishing House, 2009.
3. Wang Yuanqi, Sun Yueyi, Song Junye, Wu Xuan, Wang Quan, Pei Wenzhai Calligraphy and Painting Notation, vol. 86, 1708.
4. Fu Kaisen, "The Continued Edition of the Bibliography of The Past Dynasties", p. 108. Beijing Library Press, 2007.
5. Collected Academic Papers of Zhang Daqian, p. 142, National Museum of History, 1988.
6. Zhang Heng, "Notes on The Appreciation of Muyan Zhai Calligraphy and Painting • Painting IV", pp. 388-389, Cultural Relics Publishing House, 2000.
7. By Xu Bangda, The Palace Museum, ed., Xu Bangda's Collection of Nine Ancient Calligraphy and Paintings, Yuan, Ming and Qing Paintings, p. 129, Palace Press, 2015.
publication:
1. Lee, E. Sherman, A History of Art in the Far East, New York: Prentishol Press, 1973, pp. 413-414, plate 547.
2. Lee, E. Sherman, Chinese Landscape Painting, New York: Abrams, 1962, pp. 46-47, pp. 139-140, plate 33.
Source: Christie's New York Auction LOT0079 in September 2005, sold for RMB 14,042,880.
In the Yuan Si family, Huang Da's pen is thick, Ni Yunlin is more sparse, Wu Zhonggui is known for simplicity, and Wang Shuming is famous for his dense and beautiful appearance, and has a feeling of being airtight.
It is airtight, and it is difficult to draw a sense of beauty and popularity. Because of the minimalism, there is a high-cold style.
And we look at this painting, although the cattle hair is densely packed, but in the composition, the layers are clear, dense, the mountain is not oppressive, most of the cattle hair and the solution are used to depict the weathered state of the mountain.
Take a closer look at this landscape called "Qingyu Fishing Map". 渰, according to the explanation of the text, means "rain and cloud appearance". That is to say, this painting depicts a mountain scenery that is about to rain, so you can find that the water and grass are all facing in one direction, obviously blown by the wind, and the air is also a feeling of smoke and rain.
In the summer green mountains, long pine high ridges, deep mountain huts, two coats are leisurely reading and gossiping, while in the lower right corner of the painting, Yi Weng is fishing in the boat. This kind of life of Gao Shi's seclusion is the ideal life of Wang Meng's "lying on the green mountain and looking at the white clouds".
In the upper right of the painting, there are two inscriptions of the same era, one is Suichu and the other is Deng Jiuyuan.
At the beginning, I could not find out who this person was, but from the poems he inscribed, it can be inferred that he is Wang Meng's friend and often meets. Because he said in a mocking tone, "Sorry Yellow Crane Old, he has become a snow-eyebrow man." "It's a pity that Wang Meng, you are old, and your eyebrows are white."
Painting fa model calligraphy, ask dong juzhong.
The Song Dynasty wheel rice is old, and the five generations have Yang Feng.
Twilight Smoke Cave, Akiyama Katsura tree from.
Unfortunately, the yellow crane is old and has become a snow eyebrow man.
——Yanling Mountain Qiao Sui Preliminary Question.
It can be seen that this painting is the work of Wang Mengji in his later years.
And then Deng Jiuyuan's inscription poem, according to its content, may be after Wang Meng's death, because the last two sentences are: Phi Tu infinite meaning, the book this comforts the love. The person who loves to miss should be the former friend Huang Heshan Tree.
In the smoke of the hut,
Take a leisurely fishing wire.
Phi Tu Infinite Meaning,
Book this consolation.
--Wenjiang Deng Jiuyuan.
The circulation of national treasures
We have no way of knowing why Wang Meng painted this painting, and whether this painting was given to his friend Deng Jiuyuan. But from the collection prints on the picture, we can see his experience of circulation in the next few hundred years, which is also a poem that is full of qi and intestines.
First of all, we found that the earliest collection seal was the "Seal of the True Treasure of The Complete Examination of The Water Village Land" in the lower left corner. Lu Quan was a Ming Chenghua Jinshi, an official and military department Shangshu, and a collector of the Ming Dynasty. The level of Lu Quan's collection, even Wang Shizhen and Qian Qianyi praised him, Wang Shizhen called Lu Quan "a good collection of calligraphy and paintings", qian Qianyi called him: "Boya is good at ancient, good at appreciation" He also collected a famous national treasure, that is, you waited in line at the gate of the Forbidden City for seven hours to see the "Qingming River Map"!
According to the text behind the "Map of the Upper River of the Qingming Dynasty", this painting was once collected by Yang Zhun of the Yuan Dynasty, Li Dongyang of the Ming Dynasty, and others. In the third year of Yu Jiajing (1524), the "Map of the Upper River of the Qingming Dynasty" was transferred to Lu Guan's hands. It can be seen how precious his collection of works is.
Lu finished the inscription after the Qingming River Map
Lu Quan not only had the "Map of the Upper River of the Qingming Dynasty" in his hand, but also other fine calligraphy and paintings. It is said to be Huai Su's "Self-Narration Thesis", Yan Zhenqing's "Zhu Juchuan", Cai Xiang's "Si Yong Ti", Su Shi's "Former Chibi Fu", Fan Kuan's "Qiuxi Fishing Hidden Map", Li Gonglin's "Filial Piety Map" and so on. All of them are the treasure level of today's museum.
Lu Guan's collection is not huge, but it contains works of considerable rank and importance, and he has nearly 50 famous paintings or calligraphy works in his hands. This painting of Wang Meng was also his treasure, which showed its weight and level in Lu Wan's eyes.
Unfortunately, however, in the fifteenth year of Zhengde, Lu Quan was imprisoned for his sins, and the family collection began to scatter. According to the coral network, after this work was extracted from Lu Guan's hands, it was hidden by Zhao Youguang of the Zhao clan of Gusu Hanshan.
There is also a Tibetan seal "Linglu Pavilion" side in the painting, which is the Jianzang seal of the Qing Dynasty Jiangbiao. Jiang Biao was a native of Suzhou, a jinshi during the Guangxu years, and an official who was edited by the Hanlin Academy. He likes to collect, but more importantly, he collects books, Song and Yuan inscriptions, ancient book inscriptions, etc. It should be known that in ancient times, the collection of ancient books was the highest level of collectors, who stood at the top of the chain of collection discrimination, because ancient books were expensive, rare, and had a high cultural content, and a large number of cultural reserves were needed to collect properly. Therefore, Jiang Biao's vision is naturally very high, and he can collect this Wang Meng, which also shows the rarity of Wang Meng's works.
After the end of the Qing Dynasty and the beginning of the People's Republic, this map changed hands again. Zhang Heng Zhang Liangyu has a famous set of books, called "Notes on the Painting of Muyan Zhai", which records this work and was collected by Sun Yangnong, a collector of the Republic of China.
Later, the painting was sold from Sun Yangnong and sold to the Dic Junker family, and was collected by the fourth generation of Steven Junkers. A considerable part of the many collections purchased by this family were purchased from Lu Qinzhai, a famous ancient painting dealer in the Republic of China, and this Wang Meng, perhaps through Lu Qinzhai's hand, walked out of the country.
From Lu Wan to Stephen Junker, this painting has been circulated for more than five hundred years, and there may be other stories that we don't know, but what we know has made people feel that the world has changed and the vicissitudes of the sea. Fortunately, however, he has been switching between big collectors and has not been treated inhumanly.
Such a good painting naturally has many bibliographies, starting from the Ming Dynasty, it was written in Wang Keyu (Ming) "Coral Net", and later successively in Bian Yongyu's "Examination of Calligraphy and Painting in Shigutang", Wang Yuanqi and Sun Yue's "Peiwenzhai Calligraphy and Painting Notation", and Fu Kaisen's "Catalogue of Bibliography of Past Dynasties". Zhang Heng, "Notes on Appreciation of Muyan Zhai Calligraphy and Painting: Painting IV", Lee, E. Sherman, "History of Art in the Far East", and Lee, E. Sherman, "Chinese Landscape Painting".
These are all the bibliographies marked on the catalogue, but I also found a catalogue that is missing, but it is a very important bibliography, and I want to secretly tell you here, that is, after the founding of the People's Republic of China, Mr. Xu Bangda, one of the five elders, also identified this "Qingxiang Fishing Map"!
Seeing that the part I marked with the red line is the name of this painting, and the front of this painting is the "Western Suburbs Caotang Map" collected by the Palace Museum, followed by the famous "Ge Zhichuan Migration Map", such a position, you can understand the importance of this painting ~ ~
At the scene of the Poly auction in Hong Kong today, we are fortunate to see this treasure masterpiece of hundreds of years, and it is also a very fortunate thing to experience the elegant atmosphere of the painting full of paper smoke and rain, living in the mountains and forests.
Lan Ying's four screens, which never appeared
Of course, when I went to the preview site of poly Hong Kong auction, I could not only see this wang meng, but also a set of lan ying four screens that had never appeared in the market, unveiling the mystery and waiting for you.
Lot 623 Lan Ying Antique Landscape Four Screens Vertical Scroll Colored Silk Book made in 1622
Size: Approx. 1.2 m2 (each) 46×30cm.×4 (18 1/8×11 3/4 in.×4)
Estimate: HK$ 2,200,000 - 2,800,000
1. Imitation of Juran Xiao Wing Gift Lanting Painting Method. Lan Ying. Seal: "Lan Ying"
2. Zhao Lingyong painting. Lan Ying G. Seal: "Lan Ying", "Uncle Tian"
3. Imitate the Mei Shami painting method in the Baiyue Mountain House. Lan Ying. Seal: "Lan Ying", "Uncle Tian"
4. The first effect of The Yellow Crane. Lan Ying. Seal: "Uncle Tian"
Masterpieces of China, 4th, 147-152, Wen Wen-ég,1945, Japan Co., Ltd.
The Ming Dynasty painting world can be full of people, Lan Ying's name is not particularly large, but he is actually very powerful.
His teacher was Dong Qichang, who painted landscapes with a proper noun called "Lan Jia-like", he taught an apprentice named Chen Hongshou, and he also created the famous school of painting in Jiangsu and Zhejiang in the early Qing Dynasty, the "Wulin School". Wulin is the old name of Hangzhou, and now there is a Wulin Square in the center of Hangzhou.
Lan Ying lived for more than 80 years and left a lot of paintings. But art history is very stingy, and even his personal life is not willing to write more than a few words. Just because he was a professional painter.
At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the literati painting family was dominant, and painters like Lan Ying not only had no right to speak, but even looked down upon, and some people once added the label of "the last stream" of the Zhejiang school to Lan Ying.
But aside from the deliberate suppression of art history, people still like Lan Ying's paintings, not for appreciation, simply because he paints really well.
Lan Ying's paintings are plain, refreshing and beautiful, which comes from the proficiency of his painting skills.
Lan Ying first studied painting, learning the Southern Song Dynasty, and later when he went to Songjiang, he began to study Huang Gongwang Wu Zhen and other Song and Yuan families, and also worshiped Dong Qichang as a teacher, fully accepting the theory of literati painting.
Lan Ying's most cattle place was Gu Gu, which almost took him a lifetime.
Watching Poly Hong Kong's spring auction of this blue Ying's "Four Screens of Antique Landscapes", the Song and Yuan atmosphere came to the face.
Although this is an imitation of his early years, whether it is imitation Juran, Zhao Lingyong, Wu Zhen, or Wang Meng, Lan Ying can draw her own style while grasping shen yun. In his early years, he must have worshiped Dong Qichang as a teacher, and he desperately faced many famous paintings in his home.
It is worth mentioning that this Lan Ying "Antique Landscape Four Screens" is a raw product that has never appeared in the auction market, so we have to enjoy it.
The first axis is the drawing method of imitating Juran's "Xiao Yi Earn Lan Ting Tu".
"Xiao Yi earns Lan Ting" is a historical allusion, saying that Tang Taizong loved Wang Xizhi's calligraphy, and he learned that the "Orchid Pavilion Preface" was in the hands of Wang Xizhi's seventh generation of Sun Debater monks, and wanted, of course, the debater refused to give it to him, so Tang Taizong made a conspiracy move and sent the inspector Yushi Xiaoyi to deceive the "Orchid Pavilion Sequence" in the hands of the debater.
JuRan's "Xiao Yi Earns Lanting Diagram" depicts Xiao Yi pretending to be a scholar and going to the mountain temple where the debater is located, which is almost a deceptive scene.
Speaking of Lan Ying's imitation of Juran, we may wish to take a look at these two paintings first.
(Left) Poly Hong Kong Spring Auction One of Lan Ying's "Four Screens of Antique Landscapes"
(Right) Juran's "Xiao Yi Earn Lanting Map" in the collection of the National Palace Museum in Taipei
In this comparison, the overall composition of the two is S-shaped, which is quite similar. But the antique work is not copied and pasted, Lan Ying drew her own understanding.
In Juran's painting, there are several towering peaks, as strong as a knife and axe, and the mountain peaks stand in the middle of the horizontal screen, blocking the viewer's vision, which is a very typical Song painting style.
Lan Ying was simplified, only one mountain was retained, and the edges and corners of the mountain were softer. The low ridge extends back and forth with a sense of space, with a sense of distance. The visual center of gravity also shifts downwards.
In Juran's painting, the temple of the debater monk, located in the very center of the picture, sandwiched between the dense mountain forest and cliffs, is indeed a "deep mountain Tibetan ancient temple", which cannot be found without careful inspection.
Lan Ying, on the other hand, directly placed the mountain temple on the left side of the picture, and the viewer could see it at once.
In the treatment of mountain stones, Juran mostly uses thin cattle hair.
The mountain stones in Lan Ying's pen are mostly short and hempy, and the silhouette is round and blunt, which is more wild and simple.
The way leaves are drawn is also different.
In Juran's paintings, different leaves have different drawing methods, and there are many variations.
Lan Ying's point leaf rule is relatively single, but because his mountain stone level is relatively rich, it is not monotonous.
Saying that it is antique, Lan Ying has actually been trying various painting methods, and his imitation is huge, although it is not as difficult and complex as the original, but it also paints his own simple and clear unique style.
The second axis imitates Zhao Lingyong, which can be seen at a glance from the painting methods of Yuanshan and Lotus Pond.
Lakeside smoke willows, lake wind lotus, with a simple and beautiful brushwork, a small and fresh summer.
Comparing the parts of Zhao Lingyong's "Huzhuang Qingxia Map", it is indeed very similar.
Song Zhao Lingyong Huzhuang Qingxia Map Partial
Collection of the Museum of Fine Arts, Boston, USA
The third axis imitates the Wuzhen painting method, the number of Wuzhen, which is Mei Shami.
Mountains, cliffs, water inlets, slopes, strong lines, and ink color blending, water vapor dripping.
On the last axis, the mountain is covered with tangled and fine cattle hair, which at first glance is imitating Wang Meng's penmanship, and the Yellow Crane Mountain Tree is Wang Meng's number.
As mentioned earlier, this set of antique landscape paintings was painted in 1622 (壬戌年) and belongs to raw goods that have never appeared in the market before.
But don't worry about the source, because these four screens were published in the fourth volume of the "Chinese Famous Paintings" in Japan in 1945.
Writings: "Masterpieces of China", No. 4, 页 147-152, Japan Co., Ltd., 1945
In addition, two similar sets of antique books can also be found at the National Palace Museum in Taipei. More coincidentally, they and Poly Hong Kong's Lan Ying 'Four Screens of Antique Landscapes' were painted in the year of Nongshu, that is, in 1622.
One of them is the following set of "Antique Books", which has been continued to compile the old collection by the Qing Palace Old Collection Shiqu Baodi, which can be said to be a very authoritative Lan Ying work.
Lan Ying's "Antique Album", Collection of the National Palace Museum, Taipei (4 out of 8)
In this set of "Antique Albums", there are Linzhao Lingyong two open, Wang Meng one open, and Juran one open (the inscriptions are all written imitating Juran Xiaoyi's lanting brushwork), all of which are very similar to the composition of poly Hong Kong Spring Auction's "Four Screens of Antique Landscapes" with pen composition, which are very exquisite.
Looking at this opening, Lan Ying inscribed: "Zhao Lingyong's painting "Hexiang Qingxia Scroll", in Dong Taishi's family, was once in wu menzhou in the second volume, and the repetition is, I am afraid that Handan will be strange. ”
It was proved that Lan Ying did have a close relationship with Dong Qichang, and only then did he have the opportunity to copy the paintings of Zhao Lingyong and other famous Song and Yuan masters in his home, so that the painting art could advance by leaps and bounds.
Another set of Albums of Lan Ying's "Antique Landscape" collected by the National Palace Museum in Taipei is also very similar to the four screens of landscapes taken by Poly Spring.
Lan Ying's "Antique Landscape" Collection of the National Palace Museum in Taipei (eight selections of three)
Comparing the two openings of Linzhao Lingyong together, the brushwork of the distant mountain and the tree is basically exactly the same.
(Right) Lan Ying's "Antique Landscapes" (eight open three) collection of the National Palace Museum in Taipei
It can be seen that Lan Ying's "Four Screens of Antique Landscapes" launched by Poly Hong Kong Spring Auction can not only reflect the level of Different Famous Artists in Lan Ying's early imitation, but also be able to corroborate with the works of authoritative collections, which has very high academic research value.
Given that the market price of Lan Ying has not been too high, such a set of raw goods that are both boutique and reliable sources will not become a big leak in Poly Hong Kong's spring auction? We can look forward to it.
Fu Baoshi, who loves to drink, regards Tao Yuanming as an idol and drinking friend
Of course, the modern part also has large goods, the most important of which is fu Baoshi's figure painting "Yuanming Zai Wine Map".
Lot 486 Fu Baoshi Yuan Ming Zai wine picture Mirror heart colored paper
Size: Approx. 4.2 sq. ft. 83×56cm. (32 5/8×22 in.)
Estimate: HK$ 3,000,000 - 5,000,000
Inscription: Bouldering written in Dongchuan Jingangpo Mountain Zhai.
Seal: "Fu", "Seal of Bouldering", "Seal of Bouldering", "Seal of Bouldering"
Source : Christie's, Hong Kong, 19 - 20 Century Chinese Books and Painting Studios, 19 9 2, LOT306.
This is a painting of Fu Baoshi's alcoholic characters.
Fu Baoshi's landscape paintings and figure paintings are generally more clearly divided, even if there are some scenes in the landscape, they are not prominent, and the background landscape of the character portrait "Mountain Ghost" and "Heavenly Girl Scattered Flowers" is not very eye-catching, but in this work, you can see that the proportion of mountain leaves and the picture of the two figures is almost equal, which is not common in Fu Baoshi's paintings.
In terms of connotation, Fu Baoshi loves to drink, and although he and Tao Yuanming belong to different eras, he appreciates Tao Yuanming, who is also a gentleman in drinking, and also loves his "good reading does not seek much understanding", "idle and quiet, not seeking rongli, not bending his waist for five buckets of rice". What I ask for outside the painting is: I understand your "period will be drunk", and you know that I am "often drunk".
The yearning for the poetic life of the literati not only made him regard Tao Yuanming as an idol, but also feared that it was a kind of confidant feeling. Perhaps Fu Baoshi's painting of Yuanming carries wine is also to pin his own spirit, or to regard Tao Yuanming as his own incarnation.
In 2016, "Yuanming Poetic Intention" sold for 4 million yuan, nearly double the most valuable price
Fu Baoshi's painting of Tao Yuanming should be very much, and Ye Zonghao, who wrote "Painter Fu Baoshi", believes that "'Yuanminggu Wine Map' is Mr. Baoshi's most interested and most painted"
In 1935, Fu Baoshi exhibited "Yuanminggu Wine Map" at his first solo exhibition held during his study in Japan, and since then this theme has become a "reserved program" in his paintings, which runs through the eight years of King Kongpo and his return to Nanjing after the victory of the Anti-Japanese War, and continues until after the founding of New China, so it can be described as a fine work in this subject.
Fu Baoshi, Yuanminggu Wine Map, 47.7cm×68.8cm 1940 Collection of the Palace Museum
This "Yuanminggu Wine Map" is not signed with an annual model, but there is the words "Bouldering written in Dongchuan Jingangpo Shanzhai", which is of great significance to Fu Baoshi's painting career, and can even be said to be the most important stage of creation. It is said that he took advantage of the pleasure of drinking a few times to figure out the bouldering in Jingangpo. The mountains and waters of Shudi are very different from those in Jiangsu and Zhejiang, the painter is the most sensitive to the natural environment, and the energy that Fu Baoshi has been holding back in his heart is also expressed by painting these vast and majestic landscapes.
For example, the dense forest background of this painting, the upper end of the light ink to form a posture of thousands of leaves, dense places to apply thick ink, branches interlaced, leaves scattered but not chaotic, carefully arranged layout does not reveal unnatural human traces, according to the small partners in Chongqing, the scenery in the painting and Chongqing Gele Mountain some similarities, such as seemingly in a plane, in fact, a tree is much higher than the position of the other magic vision, and the aforementioned "King Kong Slope" is in Gele Mountain.
The whole picture is densely forested with trees, the atmosphere is sparse and cold, the arrangement and combination of dead trees are extremely orderly, the details are as thick as the branches, the stretching and overlapping postures are different, the staggered changes, and its position is operated, and the exquisite layout of the dome is exquisite in the subtlety.
Although Tao Yuanming can't escape the fresh and flowing hermit image, Fu Baoshi can be new and interesting, this character shape is almost exaggerated, Mr. Wuliu's crown belt, wide robe and large sleeves, cane and boy walk through the dense forest, walking with the wind, behind the boy carrying a wine jug follows the master, Bi Gong Bi respect.
A closer look at the screenshot reveals that the tree trunks around the figures cleverly form a focusing shot, and the viewer unconsciously follows the painter's brushwork!
This wine painting, whether it is pen and ink technique or layout arrangement, is in line with the standard of Fu Baoshi's diamond slope masterpiece, and is one of the works worth looking forward to in this Poly Hong Kong Spring Auction.
Poly Hong Kong Spring Auction 2018
▼
Chinese Painting and Calligraphy Session (I)
Chinese Painting and Calligraphy Session (II)
Preview time
March 31 - April 1, 2018
10:00-20:00
Auction time
Published: April 2, 2018
17:00 Chinese Painting and Calligraphy Session (I)
19:00 Chinese Painting and Calligraphy Session (II)
Auction selling locations
Grand Hyatt Hong Kong (1 Harbour Road, Wanchai, Hong Kong)
How to buy books:
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