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贵溪信息港 2021-12-06 450 10

2021古玩城精品推荐:黄士陵《庚午之春》

黄士陵字牧甫(一作穆甫),号倦叟,别号黟山人。清道光二十九年(1849),黄士陵出生在安徽黟县五都黄村一户书香人家。其父亲黄德华,字仲和,号印川,曾出任宁国府教授,喜诗文、擅书画、通文字训诂之学,著有《归田录》、《竹瑞堂诗钞》等多卷。由于家学渊深,耳濡目染,黄士陵自幼读书、写字、制印、绘画并举,更对篆学发生兴趣,八九岁即操刀习印,年未弱冠就已经在乡里成为知名人士。

The word Mu Fu (a Mu Fu) is named tired old man and Yishan man.In the 29th year of Daoguang of the Qing Dynasty (1849), Huang Shiling was born in a scholarly family in wuduhuang village, Yixian County, Anhui Province.His father, Huang Dehua, whose name is Zhonghe and whose name is Yinchuan, once served as a professor of ningguofu. He was fond of poetry and prose, good at calligraphy and painting, and familiar with the study of text exegesis. He wrote many volumes such as Guitian record and zhuruitang poetry note.Because of his profound family knowledge, Huang Shiling developed both reading, writing, printing and painting at an early age. He became more interested in seal writing. He began to learn to seal when he was eight or nine years old. Before he was weak, he had become a famous person in the village.

光绪八年(1882),33岁的黄士陵从南昌移居到广州。广州无论经济、文化等方面都比南昌活跃,这对欲以鬻艺营生的黄士陵来说,无疑提供了更广阔的天地。在广州,黄士陵又结识了一批文士名士,如沈泽棠、梁肇煌、梁鼎芬、文廷式等,或延入府幕,或为座上客。特别是黄士陵结识了长善将军的儿子志锐。志锐者,字伯愚,光绪庚辰进士,後授编修,是瑾妃、珍妃的从兄。他们给黄士陵提供习艺的金石资料,在生活上也支持他。由于得到像志锐那样有力人物的揄扬荐举和大力资助,黄士陵才有机会在光绪十一年(1885)到十三年(1887)到北京国子监求学。

In 1882, Huang Shiling, 33, moved from Nanchang to Guangzhou. Guangzhou is more active than Nanchang in terms of economy and culture, which undoubtedly provides a broader world for Huang Shiling who wants to make a living by art. In Guangzhou, Huang Shiling met a group of literati and celebrities, such as Shen Zetang, Liang zhaohuang, Liang dingfen, Wenting style, etc., or extended to the mansion curtain or served as guests. In particular, Huang Shiling met Zhirui, the son of general Changshan. Zhirui, with the word Boyu, was a Jinshi of Gengchen in Guangxu and later granted editing. He was the subordinate brother of imperial concubine Jin and imperial concubine Zhen. They provided Huang Shiling with gold and stone materials for learning art and supported him in life. Due to the praise, recommendation and strong support of powerful figures like Zhi Rui, Huang Shiling had the opportunity to study at the Imperial College in Beijing from the 11th year of Guangxu (1885) to the 13th year of Guangxu (1887).

1908年,黄士陵病逝家乡。作为清朝政府封疆大吏的两广总督端方送来挽联,联文为:“执竖椽直追秦汉,金石同寿,公已立德,我未立言;以布衣佐于卿相之间,富贵不移,出为名臣,处为名士。”挽联中透出这位权倾一方的清廷重臣,对一位潜心于学术的平民百姓的无限钦慕。

In 1908, Huang Shiling died of illness in his hometown. Duan Fang, the governor of Guangdong and Guangxi, who was a frontier official of the Qing government, sent an elegiac couplet. The couplet reads: "hold the vertical rafters to catch up with the Qin and Han Dynasties. Gold and stone live the same life. The public has established virtue, but I have not made a speech. With cloth clothes as the assistant between the ministers, wealth and honor remain unchanged. He is a famous minister and a famous scholar." the elegiac couplet reveals the infinite admiration of the powerful Qing government official for a civilian who devotes himself to academic studies.

在绘画技巧上,黄士陵十分讲究用笔用墨。他以书法中的草籀笔法入画。其山水画从技法面貌上而言,有水墨、浅绛两种风格类型,明张丑《庚午之春》谓:“大痴画格有二:一种浅绛色者,山头多岩石,笔势雄伟;一种作水墨者,皴纹极少,笔意尤为简远。”所谓浅绛山水,即是在皴染之后用淡淡的赭石和花青视画面情况作层层渲染,人物色彩对比鲜明,赭石可用来表现裸露的山石,花青可用来表现山上的植被,尤其适合表现江南山水轻快秀润的景色,也适合当时大多数文人所追求的简淡的审美趣味。

In painting skills, he pays great attention to using pen and ink. He drew with the cursive brushwork of calligraphy. In terms of techniques and features, his landscape paintings have two styles: ink and light crimson. In the Qinghe calligraphy and painting boat written by Zhang Chou of the Ming Dynasty, it is said that "there are two types of big crazy paintings: one is light crimson, with many rocks on the top of the mountain and magnificent strokes; the other is ink and wash, with few chapped lines and particularly simple and far meaning." the so-called light crimson landscape, That is, after texturing and dyeing, light ochre and cyan are used to render layers according to the picture situation. Ochre can be used to represent bare mountain stones and cyan can be used to represent the vegetation on the mountain. It is especially suitable to represent the light and beautiful scenery of Jiangnan mountains and rivers, as well as the simple aesthetic taste pursued by most scholars at that time.

在绘画风格上,黄士陵崇尚自然,讲求写意。他注重师法造化,常常深入自然,细心观察自然界在风、雾、雨、雪、空气和阳光下的变化,捕捉四季不同的景色,探究深山幽壑古木泉流的灵性。他重视对景写生,强调对实际景物的观察以及生活中的真实感受,故其所画的山水有着很强的生机和活力。由于他的创作是来自于他对自然景物的切身感受,将淡泊宁和的情感与山水的气韵合一,因此达到了自然浑成的至美境域。他的画笔墨简远逸迈,风格苍劲高旷,气势雄秀。他创浅绛山水,画风雄秀、简逸、明快,对人物清山水画影响甚大。

In terms of painting style, Huang advocates nature and emphasizes freehand brushwork. He pays attention to learning from nature, often goes deep into nature, carefully observes the changes of nature under wind, fog, rain, snow, air and sunshine, captures the different scenery of the four seasons, and explores the spirituality of ancient wood springs in deep mountains and valleys. He attaches importance to landscape painting, emphasizing the observation of actual scenery and the real feeling in life, so the landscape he painted has strong vitality and vitality. Because his creation comes from his personal feeling of natural scenery, and combines the indifferent and peaceful emotion with the charm of landscape, he has reached the most beautiful realm of nature. His brush ink is simple and elegant, his style is vigorous, high and broad, and his momentum is majestic. He created light crimson mountains and rivers, with a beautiful, simple and lively painting style, which had a great impact on the landscape paintings of the Ming and Qing Dynasties.

我国艺术品投资市场日趋繁荣。目前全球有4亿收藏与投资艺术收藏品人群,中国近1亿。2010年中国已首次超过英国,成为世界第二大艺术品市场,在全球所占份额为23%,2011年,中国在全球艺术品市场所占的份额由2010年的23%上升到30%,首次超越美国成为世界最大的艺术品与古董市场。中国艺术品拍卖市场年成交额增幅超过150%,远高于其他经济门类的增幅和涨势。继金融和房地产后,艺术品领域又将掀起新的经济狂潮。此幅作品《庚年之春》有这非常高的收藏空间和升值价值,绝对是收藏界中的一匹黑马。

China's art investment market is becoming more and more prosperous. At present, there are 400 million people worldwide who collect and invest in art collections, and nearly 100 million in China. In 2010, China surpassed the UK as the world's second largest art market for the first time, with a global share of 23%. In 2011, China's share in the global art market increased from 23% in 2010 to 30%, surpassing the United States as the world's largest art and antique market for the first time. The annual turnover of China's art auction market increased by more than 150%, much higher than that of other economic categories. After finance and real estate, the art field will set off a new economic frenzy. This work, with this very high collection space and appreciation value, it is definitely a dark horse in the collection industry.


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