近日 本公司征集精品推薦：唐三彩一套（八個(gè)舞娘）、王大凡南海觀音屏風(fēng)
【藏品名稱】：唐三彩一套（八個(gè)舞娘）
[collection name]: A set of Tang Sancai (eight dancers)
【類別】：瓷器
Class: Porcelain
唐三彩（Tang Tri-Color Glazed Ceramics），中國古代陶瓷燒制工藝的珍品，全名唐代三彩釉陶器，是盛行于唐代的一種低溫釉陶器，釉彩有黃、綠、白、褐、藍(lán)、黑等色彩，而以黃、綠、白三色為主，所以人們習(xí)慣稱之為“唐三彩”。因唐三彩最早、最多出土于洛陽，亦有“洛陽唐三彩”之稱。
Tang tri color glazed ceramics, a treasure of ancient Chinese ceramic firing process, is a kind of low-temperature glazed pottery popular in Tang Dynasty. The glaze color has yellow, green, white, brown, blue, black and other colors, while the yellow, green and white colors are the main colors, so people are used to call it "Tang Tri Color". It is also known as "Luoyang Tri Color of Tang Dynasty" because it was the earliest and most unearthed in Luoyang.
唐三彩是中國唐代的藝術(shù)精華，充分顯示了盛唐時(shí)期的精神面貌和藝術(shù)水平，也是中國藝術(shù)品的精髓所在，具有獨(dú)特的藝術(shù)風(fēng)格和鮮明的民族特色。唐三彩是中國陶文化發(fā)展到高級(jí)階段的產(chǎn)物，它所需原料和技術(shù)并不復(fù)雜昂貴，但達(dá)到的藝術(shù)效果和產(chǎn)生的文化價(jià)值之高，卻與投入之低不成比例。唐代是中國封建社會(huì)的鼎盛時(shí)期，經(jīng)濟(jì)上繁榮興盛，文化藝術(shù)上群芳爭艷，三彩釉陶始于南北朝而盛于唐朝，它以造型生動(dòng)逼真、色澤艷麗和富有生活氣息而著稱，因?yàn)槌Ｓ萌N基本色：黃、赭、綠，又在唐代形成特點(diǎn)，所以被后人稱為“唐三彩”。
Tang Tri Color is the essence of China's Tang Dynasty, which fully displays the spiritual outlook and artistic level during the Tang Dynasty. It is also the quintessence of China's art, with unique artistic style and distinctive national characteristics. Tang Sancai is the product of the development of Chinese ceramic culture to the advanced stage. Its raw materials and technology are not complicated and expensive, but the high artistic effect and cultural value achieved are not in proportion to the low investment. Tang Dynasty is the heyday of China's feudal society. It is prosperous in economy, culture and art. Tricolor glazed pottery began in the southern and Northern Dynasties and flourished in Tang Dynasty. It is famous for its vivid shape, gorgeous color and rich flavor of life. Because it is commonly used in three basic colors: yellow, ochre and green, which also formed characteristics in Tang Dynasty, it is called "tricolor of Tang Dynasty".
唐三彩盛行于唐代，唐三彩是一種低溫釉多彩陶器，最早出現(xiàn)在唐高宗時(shí)期，武則天至唐玄宗開元年間最為盛行。其中多以黃、褐紅、翠綠為基本釉色，而以黃、綠、白三色為主調(diào)。三種釉色之間沒有固定的界限，它們相互滲透，互相交融，形成你中有我、我中有它的錯(cuò)色、滲色現(xiàn)象，給人一種流暢、自然、清新的特殊美感。后來人們習(xí)慣地把這類陶器稱為“唐三彩”。斑斕璀璨的唐三彩是中國古代最鼎盛時(shí)期唐代藝術(shù)的典型代表。唐三彩的是在民國初期，1905至1909年修筑隴海鐵路期間，在洛陽北邙山一帶因工程修建而毀損了一批唐代墓葬，施工者發(fā)現(xiàn)許多帶彩釉的陶馬、陶駱駝和陶俑，由于這些陶器上大多數(shù)帶有黃、綠、白或黃、綠、褐三種顏色，于是人們就給了它們一個(gè)形象的名字——唐三彩。不過唐三彩命運(yùn)多舛，在發(fā)現(xiàn)之初許多人認(rèn)為是不吉利之器，大量的唐三彩在出土后被就地砸碎，以避邪氣。后來，國外古董商發(fā)現(xiàn)了唐三彩的潛在價(jià)值，開始大量搜集，才逐步在國內(nèi)受到重視，從此唐三彩聲名鵲起，并在世界各地拍賣會(huì)上廣受追捧，唐三彩在很長一段時(shí)期內(nèi)成為最貴的中國藝術(shù)品。
The tri colored pottery of Tang Dynasty prevailed in Tang Dynasty. The tri colored pottery of Tang Dynasty is a kind of low-temperature glaze colorful pottery, which first appeared in the period of Emperor Gaozong of Tang Dynasty, and was most popular from Empress Wu to Emperor Xuanzong of Tang Dynasty. Among them, yellow, brown red and green are the basic glaze colors, while yellow, green and white are the main colors. There is no fixed boundary between the three kinds of glaze colors. They infiltrate and blend with each other, forming the phenomenon of color mismatch and color penetration, which gives people a smooth, natural and fresh special aesthetic feeling. Later, people used to call this kind of pottery "Tang Sancai". The colorful tri colored glazed pottery of Tang Dynasty is a typical representative of the art of Tang Dynasty in the most prosperous period of ancient China. In the early period of the Republic of China, during the construction of the Longhai railway from 1905 to 1909, a group of tombs of the Tang Dynasty were destroyed in the area of beimangshan mountain in Luoyang due to the construction of the project. The builders found many pottery horses, camels and terracotta figures with colored glaze. Because most of these pottery had three colors of yellow, green, white or yellow, green and brown, people gave them an image name—— Tri colored glazed pottery. At the beginning of its discovery, many people thought it was an unlucky tool. A large number of Tang Sancai were smashed on the spot to avoid evil spirits. Later, foreign antique dealers discovered the potential value of Tang Sancai and began to collect a large number of them, which gradually attracted attention in China. Since then, Tang Sancai has become famous and widely sought after in auctions around the world. Tang Sancai has become the most expensive Chinese art for a long time.
女俑色彩穩(wěn)定沉著、疏淡自然，衣褶的線條既有雕塑的立體感，又有繪畫的平面效果，流動(dòng)的線條貫通衣裙，使女舞俑呈現(xiàn)出飄逸流暢的氣勢(shì)，如音樂一般富有節(jié)奏感，極具東方女性的神韻。雕塑家捕捉住了飛舞游移之中靜止的一瞬間加以雕刻，達(dá)到了氣韻生動(dòng)的意境，以形寫神，神形兼?zhèn)洌茄芯刻拼璧杆囆g(shù)和服飾文化的重要資料。
The color of the female figurines is stable and calm, light and natural. The lines of the pleats have both the three-dimensional sense of sculpture and the plane effect of painting. The flowing lines run through the clothes and skirts, which makes the female figurines appear elegant and fluent. Like music, they are full of rhythm and Oriental female charm. The sculptor captured a moment of stillness in the dancing and moving to carve, and achieved a vivid artistic conception. It is an important material to study the dance art and dress culture of Tang Dynasty.
唐三彩作為傳統(tǒng)的文化產(chǎn)品和工藝美術(shù)品，不僅在中國的陶瓷史上和美術(shù)史上有一定的地位，而且它在中外的文化交流上也起到了相當(dāng)?shù)靡淖饔谩Ｌ迫试缭谔瞥蹙洼敵鰢猓钍墚悋嗣竦南矏邸＿@種多色釉的陶器以它斑斕釉彩，鮮麗明亮的光澤，優(yōu)美的造型著稱于世，唐三彩是中國古代陶器中一顆璀璨的明珠。正因?yàn)樘迫视腥绱说镊攘ΓS著旅游業(yè)的進(jìn)一步發(fā)展，國際、國內(nèi)市場的開放，喜愛收藏唐三彩的人越來越多。
As a traditional cultural product and arts and crafts, tri colored glazed pottery of the Tang Dynasty not only has a certain position in the history of China's ceramics and art, but also plays an important role in the cultural exchange between China and foreign countries. As early as the beginning of Tang Dynasty, tri colored glazed pottery was exported to other countries, which was deeply loved by the people of other countries. This kind of polychrome glazed pottery is famous for its gorgeous glaze color, bright luster and beautiful shape. The tri colored pottery of Tang Dynasty is a bright pearl in ancient Chinese pottery. Because of its charm, with the further development of tourism and the opening of international and domestic markets, more and more people like to collect it.
作為中國藝術(shù)瑰寶，唐三彩馬可以多方位地折射出唐文化的絢麗光彩，不僅為人們提供了認(rèn)識(shí)中國唐文化歷史價(jià)值的寶貴實(shí)物資料，而且也使得一批又一批中外藏家為它的藝術(shù)魅力所傾倒。唐三彩馬具有巨大的投資保值潛能，因而長期受到國內(nèi)外商家的關(guān)注，并穩(wěn)坐中國陶瓷藝術(shù)品拍賣最高價(jià)的寶座。根據(jù)制作工藝的不同，唐三彩可以被分為新工藝唐三彩、高仿唐三彩和普仿唐三彩這三種類型。因?yàn)楣に嚿系牟煌约氨旧硎止趧?dòng)強(qiáng)度上的差異使得唐三彩價(jià)格上也是相去甚遠(yuǎn)。由于并非文物，一般來講大部分的現(xiàn)代工藝所生產(chǎn)出來的唐三彩價(jià)格大都是在幾十元和幾百元之間。而唐三彩的文物拍賣以及其他現(xiàn)代工藝的唐三彩中不可多得的精品拍賣，只要沒有流拍，一般都是拍出了上百萬！
2005年9月20日在紐約佳士得拍賣會(huì)上，一件高58.3厘米的唐三彩仕女俑以595440元人民幣成交;
2006年6月22日在中國嘉德拍賣會(huì)上，一件高49厘米的唐三彩馬以440000元人民幣成交;
2012年11月24日大唐國際的中國古董專場，一件高76厘米的唐三彩貼花棕釉大馬4171050元人民幣成交；
2013年09月17日紐約蘇富比的中國瓷器及工藝品專場，一對(duì)分別高69.6厘米、67.9厘米的唐三彩陶馬以25681443元人民幣成交！
As a treasure of Chinese art, tricolor horse of Tang Dynasty can reflect the brilliant brilliance of Tang culture in many aspects. It not only provides people with valuable material materials to understand the historical value of Chinese Tang culture, but also makes a batch of Chinese and foreign collectors fall for its artistic charm. Because of its great potential of investment and maintenance, the tricolor horses of Tang Dynasty have attracted the attention of domestic and foreign merchants for a long time, and have been the highest price in China's ceramic art auction. According to the different production technology, three kinds of Tang Tri Color can be divided into three types: new technology, high imitation and general imitation. Because of the difference of craft and the difference of manual labor intensity, the price of tri colored glazed pottery in Tang Dynasty is also very different. Because it is not a cultural relic, generally speaking, most of the price of the tri colored glazed pottery produced by modern technology is between tens and hundreds of yuan. As long as there is no flow auction, there are usually millions of Tang Sancai cultural relics auction and other rare high-quality auction of modern technology!
On September 20, 2005, at Christie's auction in New York, a 58.3cm-tall terracotta figure of the Tang Dynasty was sold for 595440 yuan;
On June 22, 2006, a 49cm high tri colored horse of Tang Dynasty was sold at the Jiade auction in China for 440000 yuan;
On November 24, 2012, a 76 cm high brown glaze Damascus with three color decals of Tang Dynasty was sold at the Tang International Special Exhibition for Chinese antiques;
On September 17, 2013, a pair of Tang tricolor pottery horses, 69.6cm high and 67.9cm high respectively, were sold at Sotheby's China porcelain and Arts & Crafts Fair in New York for 25681443 yuan!
唐三彩誕生于唐代是有其文化淵源的。首先，成熟的陶瓷技術(shù)是唐三彩誕生的物質(zhì)基礎(chǔ)；其次，唐代盛極一時(shí)的厚葬之風(fēng)是促成其誕生的直接導(dǎo)向；第三，唐代各個(gè)領(lǐng)域的歷史文化是孕育其最好的藝術(shù)養(yǎng)料。唐三彩的誕生也是三彩釉裝飾工藝的誕生，是釉彩裝飾和胎體裝飾結(jié)合的過程。輝煌璀璨的唐三彩，其絢麗斑斕的藝術(shù)效果在雕塑精美、造型生動(dòng)的俑上得到了完美的發(fā)揮和淋漓盡致的展現(xiàn)。唐三彩作為陪葬冥器，在過去數(shù)百年里，一直為民間收藏者所忌諱。自上世紀(jì)80年代初由國外藏家關(guān)注后，唐三彩收藏在國內(nèi)才逐漸興起，尤其是唐三彩珍品在國際拍賣市場迭創(chuàng)新高后，國內(nèi)藝術(shù)市場也出現(xiàn)了唐三彩收藏?zé)幔簧僭缒炅鞒鰢獾奶迫收淦芬查_始回流國內(nèi)。唐代是中國古代鼎盛時(shí)期，經(jīng)濟(jì)上繁榮興盛，文化藝術(shù)上群芳爭艷，唐三彩就是這一時(shí)期產(chǎn)生的一種以黃、褐、綠為基本釉色的彩陶工藝品，它以造型生動(dòng)逼真、色澤艷麗和富有生活氣息而著稱。
Tri colored glazed pottery was born in Tang Dynasty with its cultural origin. First of all, the mature ceramic technology is the material basis for the birth of the Tang Dynasty Sancai; second, the great popularity of the Tang Dynasty funeral custom is the direct guide to its birth; third, the history and culture in various fields of the Tang Dynasty is the best art nourishment for its birth. The birth of the three colors of the Tang Dynasty is also the birth of the three colors glaze decoration technology, which is the process of the combination of glaze decoration and carcass decoration. The brilliant tri colored pottery of the Tang Dynasty, with its gorgeous artistic effect, has been perfectly displayed and vividly displayed on the figurines with exquisite sculptures and vivid shapes. In the past hundreds of years, Sancai, as a funerary device, has been taboo to folk collectors. Since the beginning of 1980s, the collection of Tang Sancai began to rise in China, especially after the collection of Tang Sancai's treasures reached a new high in the international auction market, the domestic art market also witnessed the collection of Tang Sancai, and many of the Tang Sancai's treasures that flowed out of foreign countries in the early years began to flow back to China. Tang Dynasty is the heyday of ancient China. Its economy is prosperous, and its culture and art are full of splendor. Tri colored pottery in Tang Dynasty is a kind of colored pottery handicraft with yellow, brown and green as its basic glaze color. It is famous for its vivid shape, bright color and rich life atmosphere.
【藏品名稱】：王大凡南海觀音屏風(fēng)
[collection name]: Guanyin screen in South China Sea
【類別】：雜項(xiàng)
Class: miscellaneous
王大凡：男(1888年—1961年)，名堃，號(hào)希平居士，又號(hào)黟山樵子，齋名希平草廬，中國陶瓷美術(shù)大師。祖籍山西省太原市，祖上因避戰(zhàn)亂，后移居安徽省黟縣，其本人出生于江西省波陽縣皇崗村。2011年1月22日，由景德鎮(zhèn)市民間民俗文化協(xié)會(huì)、景德鎮(zhèn)市民族民俗文化搶救與保護(hù)中心報(bào)江西省藝術(shù)工作委員會(huì)審核，提交中國陶瓷美術(shù)榮譽(yù)與職稱頒證儀式醞釀，經(jīng)得近百名中國陶瓷美術(shù)高級(jí)人才、大師、教授、新聞媒體代表意見，由正式代表舉手表決，一致同意追憶其為“中國陶瓷美術(shù)大師”榮譽(yù)稱號(hào)。
Wang Dafan: male (1888-1961), Mingkun, Xiping Ju Shi, yishanqiaozi, Zhai mingxiping Caolu, Chinese ceramic art master. His ancestral home is Taiyuan City, Shanxi Province. His ancestors moved to Fuxian County, Anhui Province because of avoiding war. He was born in Huanggang village, Boyang County, Jiangxi Province. On January 22, 2011, Jingdezhen folk custom culture association and Jingdezhen national folk custom culture rescue and Protection Center reported to Jiangxi Provincial Art Work Committee for review and submitted to the ceremony of awarding the honor and title of Chinese ceramic art for deliberation. After receiving the opinions of nearly 100 senior talents, masters, professors and representatives of news media of Chinese ceramic art, the official representatives raised their hands and unanimously agreed Recall its honorary title of "Chinese ceramic art master".
王大凡在淺降彩的基礎(chǔ)上，獨(dú)創(chuàng)了“落地粉彩”技法，很符合改革了淺降彩的設(shè)色，使淺降彩法畫起畫回生。王大凡在長達(dá)六十年繪畫生涯中，兼工帶寫，構(gòu)思嚴(yán)謹(jǐn)，用筆流暢，飄逸，其代表“布袋羅漢”，形態(tài)逼真，神情莊重慈祥，其動(dòng)感飄逸，用筆如吳帶當(dāng)風(fēng)，行云流水。把一個(gè)放下包袱何等自在逍遙的和尚刻畫的惟妙惟肖，出神入化。
Wang Dafan created the technique of "ground pastel" on the basis of light falling color, which is very in line with the reform of the setting color of light falling color, making the light falling color painting come back to life. Wang Dafan has been working as a painter for 60 years. He has a rigorous conception, fluent and elegant brushwork. He represents the "bag arhat". He is lifelike in form, solemn and kind-hearted in expression, and dynamic and elegant. His brushwork is like Wu daidangfeng and flowing water. What a free and carefree monk who put down his burden portrays it vividly and vividly.
屏風(fēng)，中國傳統(tǒng)建筑物內(nèi)部擋風(fēng)用的一種家具，所謂“屏其風(fēng)也”。屏風(fēng)作為傳統(tǒng)家具的重要組成部分，歷史由來已久。屏風(fēng)一般陳設(shè)于室內(nèi)的顯著位置，起到分隔、美化、擋風(fēng)、協(xié)調(diào)等作用。它與古典家具相互輝映，相得益彰，渾然一體，成為中式家居裝飾不可分割的整體，而呈現(xiàn)出一種和諧之美、寧靜之美。
Screen, a kind of furniture used to block wind inside traditional Chinese buildings, is called "screen its wind". As an important part of traditional furniture, screen has a long history. The screen is generally displayed in a prominent position in the room, which plays a role of separation, beautification, wind protection and coordination. It and classical furniture reflect each other, complement each other, and become an integral part of Chinese style home decoration, showing a harmonious and peaceful beauty.
屏風(fēng)在三千年前的周就以天子專用器具出現(xiàn)，作為名位和權(quán)力的象征。經(jīng)過不斷的演變，屏風(fēng)作為防風(fēng)、隔斷、遮隱的用途，并且起到點(diǎn)綴環(huán)境和美化空間的功效，所以經(jīng)久不衰流傳至今，并衍生出多種表現(xiàn)形式。當(dāng)今屏風(fēng)主要分圍屏、座屏、掛屏、桌屏等形式，其中大型屏風(fēng)能展示出那種高貴的氣勢(shì)，是客廳、大廳、會(huì)議室、辦公室的首選。它可以根據(jù)需要自由擺放移動(dòng)，與室內(nèi)環(huán)境相互輝映。以往屏風(fēng)主要起分隔空間的作用，而更強(qiáng)調(diào)屏風(fēng)裝飾性的一面，既需要營造出“隔而不離”的效果，又強(qiáng)調(diào)其本身的藝術(shù)效果。它融實(shí)用性、欣賞性于一體，既有實(shí)用價(jià)值，又賦予屏風(fēng)以新的美學(xué)內(nèi)涵，絕對(duì)是極具中國傳統(tǒng)特色的手工藝精品。
Three thousand years ago, the screen appeared in Zhou Dynasty as a special instrument for the emperor, as a symbol of fame and power. After continuous evolution, screen as a windbreak, partition, concealment, and play the role of embellishing the environment and beautifying the space, so it has been spread for a long time, and derived a variety of forms of expression. Today's screens are mainly divided into surround screen, seat screen, hanging screen, table screen and other forms. Among them, large screens can show that noble momentum, which is the first choice of living room, hall, meeting room and office. It can be placed and moved freely according to the needs, reflecting each other with the indoor environment. In the past, screen mainly played the role of separating space, and more emphasis was placed on the decorative side of screen, which not only needed to create the effect of "separation without separation", but also emphasized its own artistic effect. It combines practicality and appreciation. It not only has practical value, but also gives the screen a new aesthetic connotation. It is absolutely a fine handicraft with Chinese traditional characteristics.
南海觀音：乘云中之龍，于南海波濤之上，又稱龍頭觀音。相傳中國南海一帶瘟神作怪，疫疾虐行，民不聊生且民風(fēng)愚劣，觀音菩薩決心到南海弘揚(yáng)佛法，發(fā)下“常居南海愿”。海龍王第五子狻猊主動(dòng)化為鰲龍馱乘觀音赴南海救苦救難，并隨行護(hù)法，為一方百姓講經(jīng)說法、大化天下，使這里的百姓安居樂業(yè)，過上了太平、幸福的生活。從此，許多百姓都在家里塑了立于波濤之上的乘龍觀音菩薩像供奉，既感激觀音菩薩和龍五爺?shù)姆Ρ幼o(hù)，又祈求無災(zāi)無難，吉祥平安。
Guanyin in the South China Sea: riding the dragon in the cloud, on the waves in the South China Sea, also known as the dragon head Guanyin. It is said that the God of plague in the South China Sea is acting strangely, the epidemic is rampant, the people are bored and the people are stupid. Avalokitesvara is determined to go to the South China Sea to promote Buddhism and make a "wish to live in the South China Sea". The fifth son of the king of Hailong, lion dragon, took the initiative to go to the South China Sea on Guanyin's back to save the people's lives. He accompanied the people to protect the Dharma, preached for one side of the people, and made the people live and work in peace and happiness. Since then, many people have made dragon riding Avalokitesvara statue standing on the waves at home to worship. They not only appreciate the magic protection of Avalokitesvara and dragon five gods, but also pray for disaster free, auspicious and safe.
有的佛經(jīng)說，觀音本是古代天竺國（今印度）“轉(zhuǎn)輪王”的大王子，善男身。那人們理想中的觀音菩薩就應(yīng)當(dāng)是母親、女性！年輕的母親比年老的母親當(dāng)然更美、更可親、更可愛、更理想！所以后來的觀音菩薩就以女神的化身出現(xiàn)了。早期觀音像帶有西域人的風(fēng)姿，長眉、深目、高鼻、裸露上身。北魏時(shí)的觀音面容娟秀，隋唐時(shí)的觀音濃麗豐滿。宋代的觀音丹鳳眼、眉入鬢、玉面天生喜，朱唇一點(diǎn)紅，瀟灑飄逸，風(fēng)度翩翩。元、明、清各代的觀音菩薩沒有形成突出的特點(diǎn)。佛像風(fēng)格的變化也是時(shí)代審美水平的變化。觀音信仰超越了佛教的范圍而具有了民俗文化的色彩。
Some Buddhist scriptures say that Guanyin was originally the great prince of "the wheel king" in ancient India (now India), and he was a good man. The ideal Guanyin Bodhisattva should be a mother and a woman! The young mother is certainly more beautiful, more amiable, more lovely and more ideal than the old mother! So later, Avalokitesvara appeared as a goddess. The early Guanyin statues have the style of western people, with long eyebrows, deep eyes, high nose and bare upper body. Guanyin faces in the Northern Wei Dynasty are beautiful, while those in the Sui and Tang Dynasties are rich. In the Song Dynasty, Guanyin's red eyes, eyebrows and jade face were naturally happy, and its red lips were a little red, elegant and elegant. The Guanyin Bodhisattvas of yuan, Ming and Qing Dynasties did not form prominent characteristics. The change of the style of Buddha is also the change of the aesthetic level of the times. Guanyin belief goes beyond the scope of Buddhism and has the color of folk culture.
王大凡早年的人物畫多是富貴壽考、伏虎羅漢、八仙圖等，晚年的人物畫以木蘭從軍、聞雞起舞、岳母刺字等內(nèi)容為多，注重作品的時(shí)代性。模仿品以其20世紀(jì)30、40年代的人物畫為多，也有少量50、60年代的作品。從王氏人物畫筆墨特點(diǎn)來看，主要有以下幾個(gè)特色：
一是用筆用線遒勁，似傳統(tǒng)線描法中的高古游絲描、鐵線描一類，多是中鋒用筆，樸拙、厚實(shí)、圓潤，章法別致，有裝飾味，這是王大凡與王琦側(cè)鋒用筆畫人物畫的最大區(qū)別。而模仿品勾線難學(xué)其骨，少圓潤勁拔之韻味，有的中、側(cè)鋒并用，不得要領(lǐng)。
二是人物臉部刻畫細(xì)膩，講究明暗變化，有西畫中的素描關(guān)系和光影變化，暈染手法獨(dú)特，立體感強(qiáng)。王氏畫仕女以“丹鳳眼”、“櫻桃嘴”冠之，特點(diǎn)鮮明，并形成一種慣用的程式。
三是人物畫背景多勾描蔥郁林木，竹石茅屋，野卉山花，染色青翠，草綠、翠綠、深綠幾個(gè)層次明顯，筆法一絲不茍。 從王氏作品設(shè)色來看：一是畫面絢麗照人，光彩艷發(fā)，畫場面大、人物多的作品，總是根據(jù)主題需要，主角多用鮮艷奪目的色料(如胭脂紅、西赤等)，次要人物一般以赭、黃、藍(lán)色陪襯；二是填色較厚實(shí)，人物畫在雙勾白描稿的基礎(chǔ)上，多用濃重、深沉、艷麗的色彩，作多層次的渲染，注重明暗層次和冷暖變化，有傳統(tǒng)工筆重彩的藝術(shù)效果。模仿品設(shè)色染色平板，厚重之中少陰陽層次變化，色調(diào)過渡生硬，少潤澤之感。
另外，王大凡研究出“落地粉彩”畫法，不用玻璃白填底色，直接將色料填繪在瓷胎上，再罩雪白、水綠之類料色，簡化工藝，畫意更濃。
In his early years, Wang Dafan's figure paintings were mostly the pictures of wealth, longevity, Fuhu, Luohan, and eight immortals. In his later years, the figure paintings were mainly about Mulan joining the army, listening to the chickens and dancing, mother-in-law stabbing words, etc., which emphasized the times of his works. Most of the imitations are the figure paintings of 1930s and 1940s, and there are also a few works of 1950s and 1960s. According to the characteristics of Wang's painting brush and ink, it mainly has the following characteristics:
The first is to use a strong line with a pen, which is similar to the high ancient silk and iron line drawing in the traditional line drawing method. Most of them are used by the center. They are simple, thick, mellow, unique and decorative. This is the biggest difference between Wang Dafan and Wang Qi. However, it's hard to learn from the imitations by drawing lines. There's less round and vigorous charm. Some of them are used in combination with the middle and side fronts, which is not essential.
Second, the face of the characters is characterized by delicate depiction, focusing on the change of light and shade. There are sketch relations and light and shadow changes in western paintings. The halo dye technique is unique and has a strong three-dimensional sense. Wang's painting ladies are crowned with "danfengyan" and "cherry mouth", which have distinctive characteristics and form a customary formula.
The third is that the background of the figure painting mostly depicts the lush trees, the bamboo and stone thatched houses, the wild flowers, the dyed green, the grass green, the emerald green and the dark green, with meticulous brushwork. From the perspective of Wang's works' color setting: first, the works with gorgeous pictures, brilliant hair, large scenes and many figures are always painted according to the needs of the theme. The protagonists usually use bright color materials (such as carmine, Xichi, etc.), and the secondary figures are usually set off with ochre, yellow and blue; second, the color filling is thick, and the figure paintings use thick, deep and gorgeous colors on the basis of double hook white drawing Color, for multi-level rendering, pay attention to the level of light and shade and warm and cold changes, there is a traditional meticulous heavy color artistic effect. The imitators are set with color and dyeing plates, which are thick with less changes of yin and Yang levels, and the tone transition is rigid with less sense of moistening.
In addition, Wang Dafan developed the painting method of "ground-based pastel", instead of using glass white to fill the background color, he directly filled the color material on the porcelain body, and then covered it with material colors such as snow-white and water green, simplifying the process and making the painting more meaningful.
豐富藝術(shù)生活，傳遞藝術(shù)價(jià)值！如果您對(duì)此感興趣，歡迎聯(lián)系庭杰網(wǎng)絡(luò)服務(wù)有限公司！
Enrich art life and transfer art value! If you are interested in this , please contact Tingjie Network Service Co., Ltd!
分享是一種美德，分享是一種快樂，學(xué)會(huì)分享，快樂他人！
Sharing is a virtue, sharing is a joy, learn to share, happy others!
