【藏品類別】：字畫
[collection category]: calligraphy and painting
【藏品數(shù)量】：一幅
[collection quantity]: one piece
【藏品規(guī)格】：132x66.7 單位：cm
[collection Specification]: 132x66.7 unit: cm
本作品是白石老人晚年1948年在京的作品，白石老人一生渴求長壽、幸福、吉祥，所以“壽桃”、“一世平安”、“年年有余”、“菊酒延年”都是白石老人常畫的題材。齊白石的祝壽畫，以壽桃為最多。他愛畫桃，求畫者也喜歡他畫桃。齊派桃是齊老最典型的紅花墨葉派立宗的代表，大俗幻為大雅，受到世人喜愛。
This work is the work of Baishi old man in Beijing in 1948. The old man longs for longevity, happiness and auspiciousness all his life. Therefore, "Shoutao", "one's peace", "more than every year" and "chrysanthemum wine prolonging life" are the themes of Baishi old man's paintings. Most of Qi Baishi's birthday paintings are Shoutao. He loved to draw peaches, and the painters liked him too. The peach of Qi school is the representative of the most typical Honghua and moye School of Qi Lao, which is popular in the world.
齊白石晚年作品大壽（保利義烏專場(chǎng)推薦）
實(shí)物展示 ： 保浙江省義烏市賓王路158號(hào)義烏文創(chuàng)園二區(qū)D座
尺寸：132x66.7 單位：cm
Longevity of Qi Baishi's works in his later years (recommended by poly Yiwu)Physical display: Block D, zone 2, Yiwu Cultural Innovation Park, 158 Binwang Road, Yiwu City, Zhejiang ProvinceSize: 132x66.7 unit: cm
通常所見齊白石畫桃，以晚年為多，桃子或畫于籃中，或畫于樹上。多采用“紅花墨葉”的畫法，先以沒骨大寫意法直接用洋紅潑寫碩大桃實(shí)，躍然紙上，艷而不俗，惹人喜愛。滲以少許檸檬黃，再以花青、赭墨寫出葉子和枝干，后用濃墨勾勒葉筋，設(shè)色濃重艷麗。與其畫荷花所創(chuàng)的紅花墨葉恰成強(qiáng)烈對(duì)照。不僅桃實(shí)的分布頗具匠心，極臻疏與密、藏與露之妙，連壽桃的向背光都以顏色的變化來確切地表現(xiàn)出來。
Qi Baishi usually painted peaches in his later years. Peaches were painted in baskets or on trees. The painting method of "safflower, ink and leaf" is often used. First, the huge peach fruit is directly splashed with magenta with boneless capital meaning method. It looks like a piece of paper, which is gorgeous and not vulgar, which makes people like it. Infiltrate with a little lemon yellow, and then write leaves and branches with cyan and ochre ink, and then outline the veins of leaves with thick ink, and set a thick and gorgeous color. In contrast to the red and black leaves created by Lotus painting. Not only is the distribution of peach fruits quite ingenious, but also the back lighting of Shoutao is shown by the change of color.
白石老人還喜歡把桃與桃葉、桃與竹籃的比例加以夸張。如竹籃只能盛下兩三個(gè)桃子，可見仙桃的非同一般！這樣的夸張手法，是從民間藝術(shù)借鑒來的，雕花藝匠出身的齊白石，對(duì)民間藝術(shù)的熟悉和大膽借鑒，是成就其藝術(shù)的一大根源。文人藝術(shù)與民間藝術(shù)天衣無縫的融會(huì)，在一個(gè)桃子形象中也有突出的體現(xiàn)。
Baishi old man also likes to exaggerate the proportion of peach and peach leaf, peach and bamboo basket. If the bamboo basket can only hold two or three peaches, it can be seen that Xiantao is not the same! Qi Baishi, who was born as a sculptor, is familiar with folk art and boldly uses it for reference, which is a major source of his artistic achievements. The seamless integration of literati art and folk art is also reflected in a peach image.
齊白石對(duì)菊花的處理方法還是脫胎于吳昌碩，但區(qū)別還是比較明顯。齊白石的菊花也是書寫而成，而不是勾描出來的；在外形上多取“正圓形”的團(tuán)狀，有一定的圖案化傾向，不太刻意表現(xiàn)自然狀態(tài)下菊花的“不對(duì)稱性”，雖然也注意菊花瓣在各個(gè)角度上的遮擋、開合、伸縮關(guān)系，但總體上還是趨于畫家主觀的意象化。顏色比較飽滿艷麗，以紅和黃兩色為主，上色也相對(duì)較厚；早期菊花葉比較小，到了晚年變大而自由。近現(xiàn)代很多畫家表現(xiàn)菊花都是以陶淵明“人淡如菊”的意象為主，著意于菊花在品格層面的追求。而齊白石更強(qiáng)調(diào)“延年”層面的美好寓意，如與鴿子相配，則“和平延年”；與酒壇相配，則“菊酒延年”。齊白石從不回避世俗百姓對(duì)“富貴”“長壽延年”“福祿”層面的表達(dá)，只是他筆下的意境除了祥瑞之外，更平添了淳樸與天真的自然氣息。
Qi Baishi's treatment of chrysanthemum is still born in Wu Changshuo, but the difference is obvious. Qi Baishi's chrysanthemum is also written, not sketched out; in the shape of more "round" shape, there is a certain patterning tendency, not very deliberately show the natural state of Chrysanthemum "asymmetry", although also pay attention to the chrysanthemum petals in various angles of occlusion, opening and closing, expansion and contraction relationship, but on the whole still tends to the painter's subjective imagery. The color is relatively full and gorgeous, mainly red and yellow, and the color is relatively thick; in the early stage, the chrysanthemum leaves are relatively small, but in the later years, they become large and free. In modern times, many painters express chrysanthemum mainly by Tao Yuanming's image of "people are as light as chrysanthemum", and they are interested in the pursuit of Chrysanthemum in character level. Qi Baishi also emphasized the good implication of "prolonging the year", such as "peaceful prolongation of life" if matched with pigeons, and "prolonging life with chrysanthemum wine" if matched with wine altar. Qi Baishi never evades the expression of "wealth", "longevity" and "fortune" from the common people, but the artistic conception in his works is not only auspicious, but also simple and naive natural flavor.
齊白石的工筆草蟲雖然對(duì)細(xì)節(jié)刻畫細(xì)致，但是他并不是照搬客觀事物，而是在追求畫面真實(shí)的基礎(chǔ)之上，尋求一種氣韻。所以在欣賞他草蟲畫的時(shí)候給人一種生機(jī)盎然之氣，并不呆板。草蟲和花草瓜果相結(jié)合，這是生活中常見的場(chǎng)景，被齊白石畫出了藝術(shù)美感，畫面之中的草蟲或走或飛，被齊白石賦予的藝術(shù)的生命力。這些草蟲仿佛你靠近的時(shí)候，它會(huì)振翅高飛，活靈活現(xiàn)。有人說齊白石草蟲只要學(xué)過寫實(shí)畫的人都可以畫出來，尤其是一些畫超寫實(shí)油畫的人，他們畫草蟲和齊白石有過之而無不及。但是要論其真實(shí)，的確有很多人可以畫出照片的效果，而齊白石是在真實(shí)的基礎(chǔ)之上求氣韻，這是很多畫家所達(dá)不到的，尤其是在當(dāng)時(shí)的畫壇，齊白石的草蟲畫具有開拓意義。不論是在形象上還是在氣韻上，齊白石的草蟲畫都可以被稱為草蟲畫的范本。我們可以看放大之后的效果，草蟲翅膀、四肢顏色變化豐富，細(xì)看之下，四肢上的毛刺都畫了出來，可見齊白石的觀察仔細(xì)和精湛的藝術(shù)表達(dá)能力。
Although Qi Baishi's meticulous description of the details, but he does not copy the objective things, but on the basis of pursuing the reality of the picture, looking for a kind of charm. Therefore, when appreciating his grass and insect paintings, it gives people a sense of vitality and is not rigid. The combination of grass and insects with flowers, plants and fruits is a common scene in life. Qi Baishi painted the aesthetic feeling of art, and the grass insects in the picture can walk or fly, which is endowed with artistic vitality by Qi Baishi. These grass insects as if you close, it will fly high, vivid. Some people say that Qi Baishi's grass insects can be painted by anyone who has studied realistic painting, especially some people who paint super realistic oil paintings. They can draw grass insects as well as Qi Baishi. However, in terms of its authenticity, there are indeed many people who can draw the effect of photos. Qi Baishi seeks the charm on the basis of reality, which many painters can't achieve. Especially in the painting world at that time, Qi Baishi's grass insect painting has pioneering significance. Qi Baishi's grass and insect paintings can be called the model of grass and insect paintings both in image and in spirit. We can see the effect after zooming in. The colors of the wings and limbs of the grass insects have changed a lot. After a close look, the burrs on the limbs have been drawn, which shows Qi Baishi's careful observation and exquisite artistic expression ability.
由于齊白石整體作品價(jià)位較高，故該題材已經(jīng)價(jià)值不菲，從下表中亦可見。
As a result of the high price of Qi Baishi's works, the theme has been of great value, which can be seen from the table below.
“四君子“是畫家最為常見的題材。之所以稱之為“自留地”，是緣于大部分畫家都將至視為基本功，是進(jìn)入中國畫學(xué)習(xí)的必要途徑，所以幾乎很少有畫家不能畫這四種題材的。但是，倘若將“四君子”作為自己主攻的方向，其難度就陡然升高，其中還牽涉到人品的高度，我們從整體的姿態(tài)、枝干的多少、葉子的長勢(shì)、用墨的濃淡等因素都可以反映出畫家的修養(yǎng)高度與雅俗之別。它們的價(jià)值絲毫不遜色于那些看上去繁復(fù)的草蟲飛禽，因?yàn)樵绞菃渭兊奈锵笤綗o法藏拙，一個(gè)枝葉的方向就可以決定作品的高下。
"Four gentlemen" is the most common theme of painters. The reason why it is called "private plots" is that most painters regard Zhizhi as a basic skill and a necessary way to learn Chinese painting. Therefore, few painters can not paint these four themes. However, if we take the "four gentlemen" as the main direction of attack, the difficulty will rise sharply, which also involves the height of moral character. We can reflect the difference between the height of cultivation and the elegance and vulgarity of painters from the overall posture, the number of branches, the growth of leaves, the thickness of ink and other factors. They are no less valuable than the seemingly complicated grass, insects and birds, because the more simple the object is, the more unsophisticated it is. The direction of a branch and leaf can determine the height of the work.
展示機(jī)構(gòu)：煒恒藝術(shù)品有限公司（保利西南聯(lián)絡(luò)處）
Exhibition organization: Weiheng Art Co., Ltd. (poly southwest Liaison Office)
咨詢電話：王17823447223
Tel: Wang 17823447223
藏品擁有人：鄭先生
Owner: Mr. Zheng
出價(jià)方式：保利拍賣
Bidding method: Poly auction
