ORION WEB MUSEUM 徐氏兄弟網路藝術美術博物館徐氏兄弟网络艺术美术博物馆: 2012

For more newly revised information please also visit

http://www.flickr.com/photos/orionmuseum/

A 15th century Five-colored Bottle Vase and an oil painting of Dutch Fleet engaged the Taiwan Naval Battle in 1662
一個15世紀的五彩天球瓶與一幅西元1662年荷蘭艦隊參與臺灣海戰圖油畫

A Wucai Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Ming Dynasty (H 37 cm) and the same Jingtai Period (1450 - 1457) Ming Dynasty (H 37 cm) in the China Development Investment Corp. Taiwan

一件明朝正統年製官窯五彩歐洲使節天朝進貢人物風景紋天球瓶(高37公分)與一件台灣中華開發投資股份有限公司館藏明朝景泰年製官窯五彩三顧茅廬人物風景紋天球瓶(高37公分)

Chinese porcelain art blooms: a $3 garage sale bowl sold $2.2M in auction
中國瓷器藝術開花:車庫拍賣$3瓷碗拍出220萬美元

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 jade carved Changxingongdeng Court Oil Lamp (H 22.5 cm) and a gilt-bronze one (H 48 cm) in the Hebei Museum of China
一件玉雕長信宮燈(高 22.5 cm)與一件中國河北省博物館藏青銅鎏金長信宮燈(高 48 cm)

A Gilt-Bronze Guanyin Bodhisattva Figure (H 40.5 cm) and a Carved Wood one (H 200 cm) in the National Museum of China
一件銅鎏金觀音菩薩坐像(高 40.5 cm)與一件中國國家博物館藏木雕观音菩萨坐像(高 200 cm)

A jade carved Manlike

Oil Lamp (H 27 cm) and a bronze one (H 21.3 cm) in the National Museum of China
一件玉雕人形玉燈(高 27 cm)與一件中國國家博物館藏銅雕人形铜灯(高 21.3 cm)

A jade carved Phoenix Bi (D 23 cm) and a jade carved Dragon Bi (D 26.3 cm) in the National Museum of China
一件玉雕鳳紋玉璧(直徑 23 cm)與一件中國國家博物館藏玉雕龙纹玉璧(直徑 26.3 cm)

A Dancing-horse Gold Bowl (D 12.8 cm) and a Mandarin Duck Gold Bowl (D 13.5 cm) in the Shaanxi History Museum of China
一件雙舞馬紋金碗(口徑 12.8 cm)與一件中國陕西历史博物馆藏鸳鸯莲瓣纹金碗(口徑 13.5 cm)

A Dancing-horse Gold Bowl (D 12.8 cm) and a Double-lion Silver Bowl (D 12.6 cm) in the Shaanxi History Museum of China
一件雙舞馬紋金碗(口徑 12.8 cm)與一件中國陕西历史博物馆藏鎏金双狮纹银碗(口徑 12.6 cm)

A painting "Orchids Bamboos and Rocks" (H 65 x W 67 cm) by Zheng Banqiao dated 1764 and the same in the Wuxi City Government of China
一幅鄭板橋1764年作蘭竹石圖(高 65 x 寬 67 cm)與一幅中國無錫市政府之相同鄭板橋蘭竹石圖軸

A Gilt-Bronze Guanyin Bodhisattva Figure and a Carved Wood Guanyin Bodhisattva Figure in the National Museum of China
中國唐朝銅鎏金觀音菩薩坐像與中國國家博物館館藏之宋朝彩绘木雕观音菩萨坐像

A Gilt-Bronze Sitting Guanyin Bodhisattva Figure (H 40.5 cm) Tang Dynasty（618-907）China and a Color-painted Carved Wood Sitting Guanyin Bodhisattva Figure (H 200 cm) Song Dynasty（960-1279）collected in National Museum of China

中國唐朝（618-907年）銅鎏金觀音菩薩坐像(高 40.5 cm)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)

A Gilt-Bronze Guanyin Bodhisattva Figure and a Carved Wood Guanyin Bodhisattva Figure in National Museum of China

中國唐朝銅鎏金觀音菩薩坐像與中國國家博物館館藏之宋朝彩绘木雕观音菩萨坐像

中國唐朝（618-907年）銅鎏金觀音菩薩坐像(高 40.5 cm)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)

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"

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)

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.

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!

張大千祥賀國民黨黨國元老家族結婚誌慶
Happy Wedding Ceremony Gift by Zhang Daqian

To be dedicated to the family member of the Kuomintang party high ranking founding official

“百年和合潑墨淡彩寫意白荷花圖”
“Happy Marriage for Hundred Years Splashed Ink and Color Impressionist White Lotus”

題識簽名︰百年和合己酉六月大千張爰祥賀

二鈐印︰大千唯印大年、得心應手、
年代︰1969年作直幅淡設色水墨紙本鏡片
尺寸Size︰高 H 136.5 cm x 寬 W 68 cm（約8.52平尺、10.31才）

Vertical Ink and Color on Paper, Mounted, Signed to be honorably dedicated by DAQIAN ZHANG YUAN dated June 1969, inscribed HAPPY MARRIAGE FOR HUNDRED YEARS, with two seals of the artist.

（1）張大千1978年戊午年2月初二日作《一花一世界潑墨寫意白荷花圖》

《One Flower in One World Splashed Ink Impressionist White Lotus》
by Zhang Daqian dated Feb. 2nd 1978
（高 H 94 x 寬 W 212.5 cm〔約18﹒34平尺、22﹒19才〕）
橫幅水墨紙本鏡片 Horizontal Ink on Paper Mounted
下方左上圖 Next the Leftmost and Upper Photo

1978年3月張大千先生暨夫人至佛光山禮佛，並贈親繪巨畫“一花一世界”。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 橫幅水墨紙本張大千1978年戊午年2月初二日作 )，這幅畫是民國67年 (1978年) 3月張大千先生親自送到佛光山。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；再由臺灣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。（以上摘錄自佛光山開山宗長星雲大師著《星雲日記命運的主人》一書、佛光大學佛光教科書第11冊《佛光學》第20課《佛光山大事記佛光山創建緣起摘要》一書、及《佛光山開山宗長星雲大師大事記》一書。）

In Mar. 1978, Mr. and Mrs. Zhang Daqian visited Buddhist Mt. Fo Guang and dedicated personally a large painting 《One Flower in One World Splashed Ink Impressionist White Lotus》. On Sunday afternoon Feb. 27th 1994, at the auction of “Contemporary Fine Arts by Renowned Artists” held to raise the foundation fund of Fo Guang University, the most remarkable event was the auction sale of 《One Flower in One World Splashed Ink Impressionist White Lotus》 ( H 94 x W 212.5 cm Horizontal Ink on Paper dated Feb. 2nd 1978) water ink painting by Mr. Zhang Daqian. This painting was presented by Mr. Zhang Daqian personally to Mt. Fo Guang in Mar. 1978. The auction started to bid at NT 5 million dollars. After several competitive bids, a Buddhist disciple with surname Shiau won the bid at NT 60 million dollars finally. Then he donated his just-won painting back to the Fo Guang University for a second-run bidding, and once again this painting was won by Mr. Hsu Yeouyeang, the Founder of Taiwan Far Eastern Group, at NT 56 million dollars. Therefore this painting was sold at the highest price NT 116 million dollars in total to make the most favorable contribution to the Fo Guang University. ( The above was extracted from the Buddhist Master Xing Yun's Personal Diary Book 《 The Master of Fate 》 written by Founder Master Xing Yun of Buddhist Mt. Fo Guang and also recorded in 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 》.）

（2）張大千1978年戊午年3月作《一花一世界潑墨寫意白荷花圖》

《One Flower in One World Splashed Ink Impressionist White Lotus》
by Zhang Daqian dated Mar. 1978
（高 H 89 x 寬 W 173 cm〔約14﹒13平尺、17﹒10才〕）
橫幅水墨紙本鏡片 Horizontal Ink on Paper Mounted
下方左下圖 Next the Leftmost and Lower Photo

（3）張大千1969年己酉年6月作《百年和合潑墨淡彩寫意白荷花圖》

《Happy Marriage for Hundred Years Splashed Ink and Color Impressionist White Lotus》
by Zhang Daqian dated Jun. 1969
（高 H 136.5 x寬 W 68 cm〔約8﹒52平尺、10﹒31才〕）
直幅淡設色水墨紙本鏡片 Vertical Ink and Color on Paper Mounted
下方右圖 Next the Rightmost Photo

張大千1969年己酉年6月作《百年和合潑墨淡彩寫意白荷花圖》之“大千張爰”四字簽名（下方最右方圖）與其姊妹書畫作品︰

（1）張大千作《驚才絕豔書法立軸》（高 H 96 x 寬 W 47.5 cm〔約4﹒18平尺、5﹒06才〕直幅水墨紙本鏡片下方最左方及左二圖）、

（2）張大千1978年戊午年3月作《一花一世界潑墨寫意白荷花圖》（下方左三中間圖）、
（3）張大千1978年戊午年2月初二作《一花一世界潑墨寫意白荷花圖》（下方左四右二圖）之“張大千爰”四字簽名，

就張大千之本人簽名與其書寫習慣而言，皆為相同，故為絕對真正。

The handwritings and signature of Zhang Daqian in this《Happy Marriage for Hundred Years Splashed Ink and Color Impressionist White Lotus》by Zhang Daqian dated Jun. 1969 (Next the Rightmost Photo) are the same as those 4 words in her sister calligraphy and paintings:

(1) 《Amazing Talent and Extreme Beauty》scroll calligraphy by Zhang Daqian （H 96 x W 47.5 cm Vertical Ink on Paper Mounted Next the Leftmost and the Second from Left Photos）、

(2) 《One Flower in One World Splashed Ink Impressionist White Lotus》by Zhang Daqian dated Mar. 1978（Next the Third from Left and the Middle Photo）、
(3) 《One Flower in One World Splashed Ink Impressionist White Lotus》by Zhang Daqian dated Feb. 2nd 1978（Next the Fourth from Left and the Second from Right Photo）、

Therefore it's “True Authenticity”!

張大千1969年己酉年6月作《百年和合潑墨淡彩寫意白荷花圖》之題識及張大千本人簽名（下方最右方及右二圖）與其姊妹書畫作品︰

（1）張大千作《驚才絕豔書法立軸》（高 96 x 寬 47.5 cm〔約4﹒18平尺、5﹒06才〕直幅水墨紙本鏡片下方最左方圖）、

（2）張大千1978年戊午年3月作《一花一世界潑墨寫意白荷花圖》（下方左二圖）、
（3）張大千1978年戊午年2月初二作《一花一世界潑墨寫意白荷花圖》（下方左三中間圖）之題識及張大千本人簽名，

就張大千之本人簽名與其書寫習慣而言，皆為相同，故為絕對真正。

The handwritings and signature of Zhang Daqian in the inscription of this《Happy Marriage for Hundred Years Splashed Ink and Color Impressionist White Lotus》by Zhang Daqian dated Jun. 1969 (Next the Rightmost and the Second from Right Photos) are the same as those words in her sister calligraphy and paintings:

(1) 《Amazing Talent and Extreme Beauty》scroll calligraphy by Zhang Daqian （H 96 x W 47.5 cm Vertical Ink on Paper Mounted Next the Leftmost Photo）、

(2) 《One Flower in One World Splashed Ink Impressionist White Lotus》by Zhang Daqian dated Mar. 1978（Next the Second from Left Photo）、
(3) 《One Flower in One World Splashed Ink Impressionist White Lotus》by Zhang Daqian dated Feb. 2nd 1978（Next the Third from Left and the Middle Photo）、

Therefore it's “True Authenticity”!

To Foresee Art Market Trend

預見藝術市場的未來走向

Worldwide Painting Sales Agent Wanted

誠徵世界各地書畫銷售代理商

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!

To foresee future trend from the ten most expensive artworks in 2012

從2012年最貴的 10 件藝術作品預見未來傾向

From the ten most expensive artworks in 2012 to foresee the increasingly significant prosperous future of fine Chinese paintings in the next ten years.

從2012年最貴的 10 件藝術作品可預見未來 10 年中國書畫精品日益增強而意義重大的昌盛未來.

From the article "The-10-most-expensive-artworks" published on 05 Feb. 2013 by www.telegraph.co.uk ( Website: http://www.telegraph.co.uk/culture/art/artsales/9850514/The-10-most-expensive-artworks.html ) compared with fine Chinese paintings, we can easily foresee the increasingly significant prosperous future of fine Chinese paintings in the next ten years.

從英國網站 www.telegraph.co.uk 於 2013 年 2 月 5 日所發行之文章 "最昂貴的 10 件藝術作品" ( 網址: http://www.telegraph.co.uk/culture/art/artsales/9850514/The-10-most-expensive-artworks.html ) 與中國書畫精品作比較, 我們可輕易預見未來 10 年中國書畫精品日益增強而意義重大的昌盛未來.

The Ten Most Expensive Artworks in 2012
2012 年最昂貴的 10 件藝術作品

#01
The Card Players 玩牌的人, Artist 畫家 : Paul Cézanne 保羅·塞尚, Price 價格 (百萬英鎊) : £158.4 million.
Picture 照片提供者 : Handout

#02
No. 5 第5號, Artist 畫家 : Jackson Pollock 傑克遜·波洛克, Price 價格 (百萬英鎊) : £89 million.
Picture 照片提供者 : Getty Images 蓋蒂圖片社

#03
Woman III 第三世仕女, Artist 畫家 : Willem de Kooning 威廉·德·庫寧, Price 價格 (百萬英鎊) : £87.4 million.
Picture 照片提供者 : AFP

#04
Portrait of Adele Bloch-Bauer I 阿黛爾·布洛赫 - 鮑爾第一世的肖像, Artist 畫家 : Gustav Klimt 克林姆, Price 價格 (百萬英鎊) : £85.7 million.

#05
The Scream 吶喊, Artist 畫家 : Edvard Munch 愛德華·蒙克, Price 價格 (百萬英鎊) : £76.3 million.
Picture 照片提供者 : AFP

#06
Garcon à la Pipe 持煙斗的男孩, Artist 畫家 : Pablo Picasso 巴勃罗•毕加索 (巴勃羅•畢加索), Price 價格 (百萬英鎊) : £66.1 million.
Picture 照片提供者 : EPA

#07
Portrait of Dr Gachet 加歇醫生的肖像, Artist 畫家 : Vincent van Gogh 文森特·梵高, Price 價格 (百萬英鎊) : £52.4 million.
Picture 照片提供者 : AP 美聯社

#08
Diana and Actaeon 黛安娜和阿克泰翁, Artist 畫家 : Titian 提香, Price 價格 (百萬英鎊) : £50 million.
Picture 照片提供者 : Reuters 路透社

#09
Bal du Moulin de la Galette 巴爾·杜·摩林酒店德·拉·加萊特, Artist 畫家 : Pierre-Auguste Renoir 皮埃爾·奧古斯特·雷諾阿, Price 價格 (百萬英鎊) : £49.6 million.
Picture 照片提供者 : Biography Channel 傳記頻道

#10
Portrait of Joseph Roulin 約瑟夫·羅林的肖像, Artist 畫家 : Vincent van Gogh 文森特·梵高, Price 價格 (百萬英鎊) : £36.7 million.
Picture 照片提供者 : Alamy

Top-Selling Artists of 2012 presented by Artnet
Artnet 所提供之 2012 年全球最佳銷售畫家排行榜

Top-Selling Artists of 2012 presented by Artnet
Artnet 所提供之 2012 年全球最佳銷售畫家排行榜

2012 Rank Artist                                         Top Lot Sold in 2012
Total Value Sold in 2012
2012年排行畫家                                       2012年最佳銷售作品
2012年銷售總金額

1         Andy Warhol (American 美國)          Statue of Liberty 自由女神雕像
(US$43,762,500)   US$380,535,960           安迪•沃霍尔

2         Pablo Picasso (Spanish 西班牙)        Nature Morte aux Tulipes 自然靜物鬱金香
(US$41,522,500)   US$334,903,375           巴勃罗•毕加索

3         Gerhard Richter (German 德國)         Abstraktes Bild 抽象的圖像
(US$34,273,027)   US$298,932,200           格哈德•里希特

4         齊白石 Qi Baishi 齐白石 (Chinese 中國)        祖國頌 (Ode to the Mother Country)
(US$13,286,904)   US$261,662,966                          齊白石 Qi Baishi 齐白石

5         張大千 Zhang Daqian 张大千 (Chinese 中國) 紅妝步障 (Red Cosmetics and A Screen)
(US$6,927,162)    US$242,435,004                           張大千 Zhang Daqian 张大千

6         Mark Rothko (American 美國)          Orange, Red, Yellow 橘子, 紅色, 黃色
(US$86,882,496)   US$187,165,870           馬克·羅斯科

7         李可染 Li Keran 李可染 (Chinese 中國)    萬山紅遍 (Mountains in Red)
(US$46,030,323)   US$180,362,333                      李可染 Li Keran 李可染

8         Francis Bacon (Irish 愛爾蘭)             Figure Writing Reflected in Mirror 鏡中反射的人物寫生
(US$44,882,500)   US$172,183,728           弗朗西斯•培根

9         Jean-Michel Basquiat (American 美國)   Untitled 無題目
(US$26,402,500)   US$161,492,045                讓·米歇爾·巴斯奎特

10        Joan Miro (Spanish 西班牙)             Peinture (Etoile Bleue) 藍色星辰
(US$37,063,473)   US$155,182,091           璜安·米羅

World Top 15 highest-selling artists in 2011
2011年列名世界拍賣收入記錄前15名的畫家

#1 Zhang Daqian 张大千 US$554.53 million
#2 Qi Baishi 齐白石 US$510.57 million
#3 Andy Warhol 安迪•沃霍尔 US$325.88 million
#4 Pablo Picasso 巴勃罗•毕加索 US$314.69 million
#5 Xu Beihong 徐悲鸿 US$233.48 million
#6 Wu Guanzhong 吴冠中 US$221.15 million
#7 Fu Baoshi 傅抱石 US$198.33 million
#8 Gerhard Richter 格哈德•里希特 US$175.67 million
#9 Francis Bacon 弗朗西斯•培根 US$129.20 million
#10 Li Keran 李可染 US$115.36 million
#11 Lu Yanshao 陆俨少 US$105.68 million
#12 Clyfford E. Still 克莱福特•斯蒂尔 US$101.55 million
#13 Huang Zhou 黄胄 US$98.95 million
#14 Zao Wou-ki 赵无极 US$91.91 million
#15 Huang Binhong 黄宾虹 US$91.79 million

Chinese artists listed in the 2011 world auction revenue top 30 record have been published.
2011年列名世界拍賣總收入記錄前30名的中國畫家名單已公佈

No. 1 第1名為張大千 Zhang Daqian (1899-1983) 张大千,
No. 2 第2名為齊白石 Qi Baishi (1864-1957) 齐白石,
No. 5 第5名為徐悲鴻 Xu Beihong (1895-1953) 徐悲鸿,
No. 6 第6名為吳冠中Ｗu Guanzhong (1919-2010) 吴冠中,
No. 7 第7名為傅抱石 Fu Baoshi (1904-1965) 傅抱石,
No. 10 第10名為李可染 Li Keran (1907-1989) 李可染,
No. 11 第11名為陸儼少 Lu Yanshao (1909-1993) 陆俨少,
No. 13 第13名為黃冑 Huang Zhou (1925-1997) 黄胄,
No. 14 第14名為趙無極 Zao Wou-ki (1921) 趙無極,
No. 15 第15名為黃賓虹 Huang Binhong (1865-1955) 黄宾虹,
No. 18 第18名為吳昌碩 Wu Changshuo (1844-1927) 吴昌硕,
No. 22 第22名為林風眠 Lin Fengmian (1900-1991) 林风眠,
No. 24 第24名為曾梵志 Zeng Fanzhi (1964) 曾梵志,
No. 25 第25名為范曾 Fan Zeng (1938) 范曾,
No. 26 第26名為王蒙 Wang Meng (1308-1385) 王蒙,
No. 29 第29名為吳湖帆 Wu Hufan (1894-1968) 吴湖帆.
No. 30 第30名為王翬 Wang Hui (1632-1717) 王翚.

Total 合計: 17 名中國畫家 17 Chinese Artists in total.

Source: Art Market Trends 2011 Top 100 Auction Results in 2011 Page 30 by Artprice.com S.A.
資料來源: 法國 Artprice.com S.A. 2011年全世界藝術市場趨勢報告書第30頁2011年全世界拍賣總收入結果前100名畫家

World Top 15 highest-selling artists in 2012
2012年列名世界拍賣收入記錄前15名的畫家

#1 Andy Warhol 安迪•沃霍尔 (1928-1987)   US$329.96 million
#2 Zhang Daqian 张大千 (1899-1983)   US$287.22 million
#3 Pablo Picasso 巴勃罗•毕加索 (1881-1973)   US$286.14 million
#4 Qi Baishi 齐白石 (1864-1957)   US$270.19 million
#5 Gerhard Richter 格哈德•里希特 (1932-)   US$262.80 million
#6 Xu Beihong 徐悲鸿 (1895-1953)   US$175.78 million
#7 Li Keran 李可染 (1907-1989)   US$166.79 million
#8 Mark Rothko 马克•罗斯科 (1903-1970)    US$166.78 million
#9 Francis Bacon 弗朗西斯•培根 (1909-1992)   US$153.08 million
#10 Fu Baoshi 傅抱石 (1904-1965)   US$152.07 million
#11 Jean-Michel Basquiat 让-米歇尔•巴斯奎特 (1960-1988)   US$141.27 million
#12 Joan Miro 琼•米罗 (1893-1983)   US$134.87 million
#13 Alexander Calder 亚历山大•考尔德 (1898-1976)   US$128.55 million
#14 Edvard Munch 爱德华•蒙克 (1863-1944)   US$120.85 million
#15 Claude Monet 克劳德•莫奈 (1840-1926)   US$120.62 million

Chinese artists listed in the 2012 world auction revenue top 50 record have been published.
2012年列名世界拍賣總收入記錄前50名的中國畫家名單已公佈

No. 2 第2名為張大千 Zhang Daqian 张大千 (1899-1983)     US$287.22 million
No. 4 第4名為齊白石 Qi Baishi 齐白石 (1864-1957)     US$270.19 million
No. 6 第6名為徐悲鴻 Xu Beihong 徐悲鸿 (1895-1953)     US$175.78 million
No. 7 第7名為李可染 Li Keran 李可染 (1907-1989)     US$166.79 million
No. 10 第10名為傅抱石 Fu Baoshi 傅抱石 (1904-1965)     US$152.07 million
No. 16 第16名為陸儼少 Lu Yanshao 陆俨少 (1909-1993)     US$112.07 million
No. 19 第19名為黃冑 Huang Zhou 黃冑 (1925-1997)     US$105.74 million
No. 20 第20名為黃賓虹 Huang Binhong 黄宾虹 (1865-1955)     US$83.00 million
No. 22 第22名為吳昌碩 Wu Changshuo 吴昌硕 (1844-1927)     US$77.10 million
No. 23 第23名為趙無極 Zao Wou-ki 赵无极 (1921-2013)     US$69.43 million
No. 26 第26名為吳冠中Ｗu Guanzhong 吴冠中 (1919-2010)     US$62.18 million
No. 28 第28名為朱德群 Chu Teh-chun 朱德群 (1920-)     US$60.06 million
No. 30 第30名為范曾 Fan Zeng 范曾 (1938-)     US$58.21 million
No. 32 第32名為林風眠 Lin Fengmian 林风眠 (1900-1991)     US$57.91 million
No. 35 第35名為何家英 He Jiaying 何家英 (1957-)     US$46.73 million
No. 36 第36名為謝稚柳 Xie Zhiliu 谢稚柳 (1910-1997)     US$43.41 million
No. 37 第37名為潘天壽 Pan Tianshou 潘天寿 (1897-1971)     US$42.67 million
No. 40 第40名為啟功 Qi Gong 启功 (1912-2005)     US$41.86 million
No. 41 第41名為八大山人 Zhu Da 朱耷 (1626-1705)     US$40.93 million
No. 42 第42名為錢松喦 Qian Songyan 钱松喦 (1899-1985)     US$38.95 million
No. 47 第47名為吳湖帆 Wu Hufan 吴湖帆 (1894-1968)     US$36.80 million
No. 50 第50名為愛新覺羅溥儒 Pu Ru 溥心畬 Pu Xinyu (1896-1963)     US$34.13 million

Total 合計: 22 名中國畫家 22 Chinese Artists in total.

Source: The Art Market in 2012 Page 72 Top 500 Artists by Auction Revenue in 2012 by Artprice.com
資料來源: 法國 Artprice.com 2012年世界藝術市場第72頁2012年世界拍賣總收入排行前500名畫家

A 3 dollars of Chinese porcelain bowl from a garage sale in 2007 becomes $2.2 million in 2013

一件於2007年以3美元從一個車庫拍賣中買得的中國瓷碗在2013年變成220萬美元

Chinese porcelain art blooms quite a lot

中國瓷器藝術大量開花

Chinese porcelain art blooms quite a lot

Chinese porcelain works of art fetched nearly 10 times of estimated expectations in the four days of the New York 2013 March Asian art auctions.

An 18th century pear-shaped yellow and blue porcelain vase in Qianlong Period (1736-1795) Qing Dynasty (1644-1911) with an estimate of $400,000 fetched nearly 10 times that, or $3.8 million.

A large pair of gilt-lacquered bronze figures of bodhisattvas in Ming Dynasty (1368-1644) that was estimated to sell for about $25,000 sold for $1.2 million.

A Chinese porcelain "Ding" bowl in Northern Song Dynasty (1100-1127) with an estimate of $200,000 to $300,000 was paid $2.2 million with commission. A New York state family bought this bowl for 3 dollars at a garage sale in 2007 and displayed it in their home.

中國瓷器藝術大量開花

於2013年3月為期4天的紐約亞洲藝術拍賣會中，中國瓷器工藝品取得高出預先估價近10倍的成交價。

一個18世紀的中國清朝(1644-1911)乾隆時期(1736-1795)青花黄地梨形尊瓶瓷器估價美金40萬元卻賣出近10倍的380萬美元。

一對大件中國明朝(1368-1644)的漆金銅菩薩立像估價美金2萬5千元也賣出120萬美元。

一件中國北宋(1100-1127)定窯瓷碗估價美金20萬至30萬元但賣出含佣金的220萬美元，一個紐約家庭於2007年以3美元從一個車庫拍賣中將之買回家中陳列。

Rare and Fine Porcelain Works of Art
罕見精美瓷器藝術品

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 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 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。

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。

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

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。

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

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.

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。

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。

The Best Painting Selections in 2013
2013年的最佳書畫作品選擇

Orchids Bamboos and Rocks

by Zheng Banqiao dated 1764
H 65 x W 67 cm
鄭板橋1764年作 "蘭竹石圖" 墨寶真跡

鄭板橋於清乾隆29年甲申年西元1764年72歲時為茂林作 "蘭竹石圖" 並題識:

題識曰: "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.".

著錄 Publications:

鄭板橋年譜 ( 鄭板橋集 )

網址: http://book.yunduan.cn/reader/1808646/1808657

博客网 Bokee.com 鄭板橋年譜

網址: http://gh20088002.bokee.com/viewdiary.23168498.html

Scientific comparison with Seals and Signatures of Zheng Banqiao for authenticity

以畫家簽名筆跡與印文比對確認鄭板橋名畫真偽

我們以具備法庭證據能力的畫家簽名筆跡與印文比對及作品顏料色差等科學分析方法確定名畫真偽

We use scientific comparison analysis of " Seals and Signatures " of the artists on the renowned paintings as well as their color differences of painted color pigments on the paintings that can be rendered in a law court as strong evidences to assure and confirm their true authenticity.

鄭板橋 Zheng Banqiao 郑板桥名畫作品之畫家簽名及印文與中华博物艺术收藏网站所收集之畫家落款与印鉴比對分析圖:

The comparison analysis of " Seals and Signatures " of the artist Zheng Banqiao on the renowned paintings with those collected in website http://www.gg-art.com/artist/:

Orchids Bamboos and Rocks by Zheng Banqiao dated 1764

H 65 x W 67 cm

鄭板橋1764年作 "蘭竹石圖" 墨寶真跡

尺寸: 高 H 65 x 寬 W 67 cm 約4平尺橫幅水墨紙本

年代: 清乾隆甲申年1764年鄭板橋72歲時

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.

鈐印: 鄭爕, 鄭風子. (二鈐印)

鑑藏印: 揚州市博物館鑑藏 (一鈐印)

鄭板橋簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Zheng Banqiao " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

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 " 郑板桥落款与印鉴 ".

Web-site (網址) :

http://www.sc001.com.cn/sealdet.aspx?name=%d6%a3%b0%e5%c7%c5

Orchids Bamboos and Rocks

by Zheng Banqiao dated 1764.

H 65 x W 67 cm 橫幅水墨紙本鏡片

鄭板橋1764年作 "蘭竹石圖"

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.

Publications:

鄭板橋年譜 (鄭板橋集) The biography of Zheng Banqian written in chronological order (at the age of 72 years old) 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”!

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1764年作 "蘭竹石圖" H 65 x W 67 cm 橫幅水墨紙本鏡片

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.

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:

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.

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.

Splashed Color Golden Outlined Red Lotus on Gold Sheet by Zhang Daqian dated 1979.

H 97 x W 242.5 cm 橫幅設色金箋鏡片

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.

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”!

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

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.

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.

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

Recalling the Beautiful Scenery of Mountain Huang in China, by Zhang Daqian dated 1979.

H 92 x W 172 cm 橫幅設色紙本鏡片

張大千1979年作 "遙思黃山故景潑彩山水圖"

The Ten Elder Men in the Legend of China, by Qi Baishi dated 1949.

H 94 x W 177 cm 橫幅設色紙本鏡片

齊白石1949年作 "十全老人神賢圖"

"Jiufang Gao" People in the Chinese Ancient Historical Poem, by Xu Beihong dated 1940.

H 94 x W 177.5 cm 橫幅設色紙本鏡片

徐悲鴻1940年作 "九方皋圖"

The People Live in Mali Village, by Wu Guanzhong dated 1982.

H 94 x W 176 cm 橫幅設色紙本鏡片

吳冠中1982年作 "馬里村頭人物風景圖"

Hwan Shyua Showed Painting to Guests in East Jin Dynasty,

by Fu Baoshi dated 1939, preface inscribed by Yu Youren.

畫 Painting H 67.5 x W 371.5 cm, 引首 Preface H 33.5 x W 78.5 cm

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

The Landscape of River Li being Well-known Forever, by Li Keran dated 1987.

H 95.5 x W 177 cm 橫幅設色紙本鏡片

李可染1987年作 "漓江山水傳千古圖"

The Children and Father Sitting on the Back of Camels, by Huang Zhou dated 1987.

H 96 x W 178 cm 橫幅設色紙本鏡片

黃冑1987年作 "駱駝背上的小學生與父親"

Landscape, by Huang Binhong.

H 93 x W 175 cm 橫幅設色紙本鏡片

黃賓虹作 "山水圖"

Annual Purely Floral and Fruity Tributes, by Wu Changshuo.

H 89.5 x W 173.5 cm 橫幅設色紙本鏡片

吳昌碩作 "歲朝清供圖"

Five Naked Ladies, by Lin Fengmian.

H 92.5 x W 175 cm 橫幅設色紙本鏡片

林風眠作 "五裸女圖"

我們以具備法庭證據能力的畫家簽名筆跡與印文比對及作品顏料色差等科學分析方法確定名畫真偽

We use scientific comparison analysis of " Seals and Signatures " of the artists on the renowned paintings as well as their color differences of painted color pigments on the paintings that can be rendered in a law court as strong evidences to assure and confirm their true authenticity.

各名畫作品之畫家簽名及印文與中华博物艺术收藏网站所收集之畫家落款与印鉴比對分析圖:

The comparison analysis of " Seals and Signatures " of the artists on the renowned paintings with those collected in website

http://www.gg-art.com/artist/:

+++

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

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)

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.

張大千簽名及印文比對樣本:

" The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

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 " 张大千落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=2&name=%D5%C5%B4%F3%C7%A7#《春愁怎画》之一

張大千 Zhang Daqian 张大千名畫作品之畫家簽名及印文與中华博物艺术收藏网站所收集之畫家落款与印鉴, 及 " 真微書屋篆刻印學網 " 真微印庫网站所收集之 " 张大千印鉴 " 比對分析圖:

The comparison analysis of " Seals and Signatures " of the artist Zhang Daqian on the renowned paintings with those collected in website http://www.gg-art.com/artist/ and http://www.sealbank.net/ :

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)

張大千簽名及印文比對樣本:

" The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

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 " 张大千落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=2&name=%D5%C5%B4%F3%C7%A7#《春愁怎画》之一

張大千印文比對樣本:

" The Seals of Zhang Daqian " offered by sealbank dot net,

" 真微書屋篆刻印學網 " 真微印庫网站所收集之 " 张大千印鉴 ".

Web-site (網址) :

http://www.sealbank.net/m3MainFind.asp?LM=3&L1=7&L2=71&L3=420&LS=&SRCHTXT=YR&SK=US771420&PN=1&PNRN=0#0

張大千 Zhang Daqian 张大千名畫作品之畫家簽名及印文與中华博物艺术收藏网站所收集之畫家落款与印鉴, " 真微書屋篆刻印學網 " 真微印庫网站所收集之 " 张大千印鉴 ", 及 " 張大千簽名﹝題畫﹞及鈐印﹝用印﹞研究 " 文章所收集之 " 张大千簽名及鈐印 " 比對分析圖:

The comparison analysis of " Seals and Signatures " of the artist Zhang Daqian on the renowned paintings with those collected in websites http://www.gg-art.com/artist/ , http://www.sealbank.net/ , and http://chinapen.tripod.com/sign/home.html :

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.

張大千簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

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 " 张大千落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=2&name=%D5%C5%B4%F3%C7%A7#《春愁怎画》之一

張大千印文比對樣本 Sample of Comparison:

" The Seals of Zhang Daqian " offered by sealbank dot net,

" 真微書屋篆刻印學網 " 真微印庫网站所收集之 " 张大千印鉴 ".

Web-site (網址) :

http://www.sealbank.net/m3MainFind.asp?LM=3&L1=7&L2=71&L3=420&LS=&SRCHTXT=YR&SK=US771420&PN=1&PNRN=0#0

張大千簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Zhang Daqian " offered by article " The Research Study of Seals and Signatures of Zhang Daqian ",

" 張大千簽名﹝題畫﹞及鈐印﹝用印﹞研究 " 文章所收集之 " 张大千簽名及鈐印 ".

Web-site (網址) :

http://chinapen.tripod.com/sign/home.html

+++

Eagle Perching on the Pine, by Qi Baishi.

H 67 x W 35 cm

齊白石作 "松鷹圖" 直幅設色紙本中堂懸掛立軸

齊白石簽名及印文比對樣本:

" The Seals and Signatures of Qi Baishi " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

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 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=1&name=%C6%EB%B0%D7%CA%AF#《阿芝》之二

+++

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)

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)

徐悲鴻簽名及印文比對樣本:

" The Seals and Signatures of Xu Beihong " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

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 " 徐悲鸿落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=15&name=%D0%EC%B1%AF%BA%E8#《悲鸿》之一

+++

Dwelling in the Mountains, by Wu Hufan dated 1930.

H 95.5 x W 178 cm

吳湖帆1930年作 "山居圖" 橫幅設色紙本鏡片

Landscape after Zhao Mengfu, by Wu Hufan dated 1950.

H 119 x W 43.4 cm

吳湖帆1950年作 "擬趙孟頫山水圖" 直幅設色紙本中堂懸掛立軸

題識簽名: 擬趙松雪庚寅中秋為壽山先生雅鑒吳湖帆

鈐印: 吳湖騷 (一鈐印)

備註: 趙松雪即元代名畫家趙孟頫 Zhao Menghu (1254-1322),

亦即元代名畫家王蒙 Wang Meng (1308-1385)的外祖父.

吳湖帆簽名及印文比對樣本:

" The Seals and Signatures of Wu Hufan " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

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 " 吴湖帆落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=13&name=%CE%E2%BA%FE%B7%AB#《湖颿长寿》之一

+++

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)

馮超然簽名及印文比對樣本:

" The Seals and Signatures of Feng Chaoran " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

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 " 馮超然落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=35&name=%B7%EB%B3%AC%C8%BB#《超然》之二

+++

Scientific comparison with Seals and Signatures of Huang Junbi for authenticity 以畫家簽名筆跡與印文比對確認黃君璧名畫真偽

我們以具備法庭證據能力的畫家簽名筆跡與印文比對及作品顏料色差等科學分析方法確定名畫真偽

We use scientific comparison analysis of " Seals and Signatures " of the artists on the renowned paintings as well as their color differences of painted color pigments on the paintings that can be rendered in a law court as strong evidences to assure and confirm their true authenticity.

黃君璧 Huang Junbi 黄君璧名畫作品之畫家簽名及印文與中华收藏网网站所收集之畫家落款与印鉴比對分析圖:

The comparison analysis of " Seals and Signatures " of the artist Huang Junbi on the renowned paintings with those collected in website http://www.sc001.com.cn :

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".

黃君璧簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Huang Junbi " offered by http://www.sc001.com.cn,

" 中华收藏网 " 网站所收集之 " 黃君璧印章落款 ".

Web-site (網址) :

http://www.sc001.com.cn/sealdet.aspx?name=%bb%c6%be%fd%e8%b5

+++

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)

10 Hand Scroll Paintings 手卷圖卷

10 Hand Scroll Paintings 10 幅手卷圖卷

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (3 幅/pcs)
齊白石 Qi Baishi 齐白石 (1 幅/pc)
徐悲鴻 Xu Beihong 徐悲鸿 (1 幅/pc)
傅抱石 Fu Baoshi 傅抱石 (3 幅/pcs)
吳湖帆 Wu Hufan 吴湖帆 (1 幅/pc)
愛新覺羅溥儒 Pu Ru 溥心畬 Pu Xinyu (1 幅/pc)

12 Landscape Paintings 12 幅山水圖

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (7 幅/pcs)
李可染 Li Keran 李可染 (1 幅/pc)
黃賓虹 Huang Binhong 黄宾虹 (1 幅/pc)
吳湖帆 Wu Hufan 吴湖帆 (1 幅/pc)
謝稚柳 Xie Zhiliu 谢稚柳 (1 幅/pc)
黃君璧 Huang Junbi 黄君璧 (1 幅/pc)

9 Landscape Paintings 9 幅山水圖

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (3 幅/pcs)
吳冠中Ｗu Guanzhong 吴冠中 (5 幅/pcs)
何海霞 He Haixia 何海霞 (1 幅/pc)

9 Landscape Paintings 9 幅山水圖

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (4 幅/pcs)
陸儼少 Lu Yanshao 陆俨少 (1 幅/pc)
黃賓虹 Huang Binhong 黄宾虹 (2 幅/pcs)
吳湖帆 Wu Hufan 吴湖帆 (1 幅/pc)
關山月 Guan Shanyue 关山月 (1 幅/pc)

9 Lotus Fowl Paintings 9 荷花禽鳥圖

9 Lotus Flower Plant Fowl Shrimp Flower and Bird Paintings 9 幅荷花花草群蝦禽鳥花鳥圖

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (3 幅/pcs)
齊白石 Qi Baishi 齐白石 (5 幅/pcs)
吳昌碩 Wu Changshuo 吴昌硕 (1 幅/pc)

13 Flower Bird Paintings 花鳥圖

13 Lotus Flower Plant Fowl Flower and Bird Paintings 13 幅荷花花草小樹禽鳥花鳥圖

Chinese Painters 中國畫家:

齊白石 Qi Baishi 齐白石 (3 幅/pcs)
顏伯龍 Yan Bolong 颜伯龙 (4 幅/pcs)
高逸鴻 Gao Yihong 高逸鸿 (1 幅/pc)
吳冠中Ｗu Guanzhong 吴冠中 (1 幅/pc)
趙少昂 Zhao Shao’Ang 赵少昂 (3 幅/pcs)
唐雲 Tang Yun 唐云 (1 幅/pc)

9 Figure Animal Paintings 9人物圖

9 Figure Animal Paintings 9 幅人物動物圖

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (1 幅/pc)
齊白石 Qi Baishi 齐白石 (1 幅/pc)
吳冠中Ｗu Guanzhong 吴冠中 (1 幅/pc)
徐悲鴻 Xu Beihong 徐悲鸿 (5 幅/pcs)
黃冑 Huang Zhou 黃冑 (1 幅/pc)

10 Figure Animal Paintings 人物圖

10 Figure Animal Paintings 10 幅人物動物圖

Chinese Painters 中國畫家:

林風眠 Lin Fengmian 林风眠 (4 幅/pcs)
張大千 Zhang Daqian 张大千 (4 幅/pcs)
豐子愷 Feng Zikai 丰子恺 (1 幅/pc)
愛新覺羅溥佐 Aisin Gioro Pu Zuo (1 幅/pc)

12 Jades and Antiques 12 件玉器及古董

Works of Art 藝術品:

古董 Antiques (2 件/pcs)
玉 Jades (8 件/pcs)
羊脂白玉 Mutton Fat White Jades (2 件/pcs)

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

中國古代歷史上四大美女之一 "楊貴妃 Yang Guifei"

One of Top 4 Famous Beauties of Ancient China in the History

"Queen Yang Guifei" (719 - 756) was nominated as the Concubine Queen of Emperor Tang Shyuanzhong in year 745 of Tang Dynasty. She was so beautiful that she was always making the Emperor to ignore the country duty. Thus in year 756, the army garrison troops forced the Emperor to kill her, otherwise they should all rebel against the Emperor. Then the Emperor had to kill her with a rope in front of troops by his own order without any choice.

楊貴妃 (楊玉環) 於西元745年為中國唐朝皇帝唐玄宗冊封為"貴妃".

她是如此美麗, 常使唐玄宗不理國事. 因此, 在西元756年皇帝禁軍將士發生兵變,

請殺貴妃, 唐玄宗不得不縊殺之, 以阻兵變.

Chinese Painters 中國畫家:

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 黃冑黃賓虹 Huang Binhong 黄宾虹吳昌碩 Wu Changshuo 吴昌硕林風眠 Lin Fengmian 林风眠吳湖帆 Wu Hufan 吴湖帆謝稚柳 Xie Zhiliu 谢稚柳唐寅 Tang Yin 唐寅溥儒 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 郑板桥西施貂蟬楊貴妃王昭君中國古代四大美女圖 Xi Shi Diao Chan Yang Guifei Wang Zhaojun Top Four Famous Great Beauties of Ancient China in the History

Works of Art 藝術品:

Jade Carved Sword Token of Imperial Authority 3 thousand years ago
三千年前的玉刻玉劍令牌
Bronze Guanyin Bodhisattva Figure 3 thousand years ago
三千年前的青銅觀音菩薩造像
Jade Carved Persian Face Elephant Puzzle 2 thousand years ago
二千年前的玉刻波斯人面大象紋益智拼圖
Jade Carved Fish Wine-Cup 3 thousand years ago
三千年前的玉刻魚形酒杯
Bronze Money-Shaking Fortune Tree
青銅搖錢樹
Jade Carved Winged Mythical Beast 6 thousand years ago
六千年前的玉刻豬鳥翼形龍
Jade Carved Military Token of Imperial Authority 3 hundred years ago
三百年前的玉刻軍事玉令牌
Great Tang Zhenguan Dancing Horses and Flowers Gold Bowl 13 hundred years ago
一千三百年前的中國唐朝皇帝用大唐貞觀刻花舞馬紋赤金金碗
Great Tang Zhenguan Phoenix Gold Plate 13 hundred years ago
一千三百年前的中國唐朝皇后用大唐貞觀刻花鳳紋赤金金盤
Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Linking Clouds Royal Dragon Pendant Western Han Dynasty China 2 thousand years ago
二千年前的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

Auction of Chinese Paintings
中國畫家的著名書畫上拍拍賣

The Best Investment Haven and Returns in Art Market -

Chinese Paintings

藝術市場最佳避風港與回收報酬率的投資 -

著名中國書畫作品

Paintings by Chinese Artists Listed in 2011 World Auction Revenue Top 15
2011年列名世界拍賣總收入前15名中國畫家名畫作品

#1
Zhang Daqian Paintings Auction
張大千 Zhang Daqian 张大千名畫上拍拍賣
#2
Qi Baishi Paintings Auction
齊白石 Qi Baishi 齐白石名畫上拍拍賣
#5
Xu Beihong Paintings Auction
徐悲鴻 Xu Beihong 徐悲鸿名畫上拍拍賣
#6
Ｗu Guanzhong Paintings Auction
吳冠中Ｗu Guanzhong 吴冠中名畫上拍拍賣
#7
Fu Baoshi Paintings Auction
傅抱石 Fu Baoshi 傅抱石名畫上拍拍賣
#10
Li Keran Paintings Auction
李可染 Li Keran 李可染名畫上拍拍賣
#11
Lu Yanshao Paintings Auction
陸儼少 Lu Yanshao 陆俨少名畫上拍拍賣
#13
Huang Zhou Paintings Auction
黃冑 Huang Zhou 黃冑名畫上拍拍賣
#15
Huang Binhong Painting Auction
黃賓虹 Huang Binhong 黄宾虹名畫上拍拍賣

Paintings by Chinese Artists Listed in 2011 World Auction Revenue Top 30
2011年列名世界拍賣總收入前30名中國畫家名畫作品

#18
Wu Changshuo Paintings Auction
吳昌碩 Wu Changshuo 吴昌硕名畫上拍拍賣
#22
Lin Fengmian Paintings Auction
林風眠 Lin Fengmian 林风眠名畫上拍拍賣
#29
Wu Hufan Paintings Auction
吳湖帆 Wu Hufan 吴湖帆名畫上拍拍賣

Paintings by Chinese Artists Listed in 2011 World Auction Revenue Top 150
2011年列名世界拍賣總收入前150名中國畫家名畫作品

#38
Xie Zhiliu Paintings Auction
謝稚柳 Xie Zhiliu 谢稚柳名畫上拍拍賣
#55
Tang Yin Paintings Auction
唐寅 Tang Yin 唐寅 (唐伯虎) 名畫上拍拍賣
#69
Pu Ru Paintings Auction
溥儒 Pu Ru 愛新覺羅溥儒 (溥心畬) 名畫上拍拍賣
#69
Pu Xinyu Paintings Auction
愛新覺羅溥儒 Pu Xinyu 溥心畬名畫上拍拍賣
#121
Zhao Shao’Ang Painting Auction
趙少昂 Zhao Shao’Ang 赵少昂名畫上拍拍賣
#148
Guan Shanyue Paintings Auction
關山月 Guan Shanyue 关山月名畫上拍拍賣

Others
其他畫家

Pu Zuo Paintings Auction
愛新覺羅溥佐Aisin Gioro Pu Zuo名畫上拍拍賣

The paintings of Chinese artist Tang Yin 唐寅 (the world auction revenue top #55 in 2011).
2011年列名世界拍賣收入記錄第55名的中國畫家唐寅 (Tang Yin 唐寅)的名畫作品.

Archaic Paintings of Top 4 Famous Beauties of Ancient China in the history by Tang Yin (Tang Bohu 1470 - 1523 Ming Dynasty).

唐寅 (唐伯虎 1470 - 1523 明代畫家) 精心繪製之中國古代歷史上有名之四大美女古畫

Xi Shi, Diao Chan, Yang Guifei, Wang Zhaojun. (Top 4 Famous Beauties of Ancient China in the history)
西施, 貂蟬, 楊貴妃, 王昭君. (中國古代四大美女圖)

中國古代歷史上四大美女之一 "西施 Shi Shy"
One of Top 4 Famous Beauties of Ancient China in the History

"Queen Shi Shy" was a very famous "Spy-Beauty" sent by the revenging King Yueh Wang Gou Jiann, in order to attract his main military enemy King Wu Wang Fu Chai in year 494 B.C. during the Eastern Zhou Warring-States-Period China. The King Wu Wang Fu Chai was then naturally being always attracted by her infinite beauty and became too busy enjoying with her as to ignore the national military constant constructional duties. She faithfully completed her spy-works beside the King of her enemy nation for the country she had devoted to. In year 476 B.C., The King Wu Wang Fu Chai was eventually killed by the King Yueh Wang Gou Jiann, in a state of exhaustion after 3 years' longtime continuous nation-surrounded-by-troops-type fightings.

西施是由欲復仇的越王勾踐所選派的一位非常有名的 "美女間諜", 以便在西元前494年中國東周戰國時期送往他的主要軍事敵國吳國迷惑吳王夫差. 吳王夫差自然為其無窮的美麗所迷惑而忙於與她享樂, 終致不理會國家的經常性軍事建設. 她為自己所奉獻的祖國忠誠地完成在敵國吳王夫差旁的間諜任務. 最後在西元前476年, 吳王夫差遭越軍於連續圍城三年後自殺而死, 吳國因戰敗而滅亡.

中國古代歷史上四大美女之一 "貂蟬 Diau Charn"
One of Top 4 Famous Beauties of Ancient China in the History

"Diau Charn" was the adopted daughter of the high ranking Official (Sy Twu) Wang Yeun in the end of Eastern Han China (Year 189 - 196). At that time the Generalissimo Doong Jwo controlled the government by military force. The Emperor Han Shiann Dih had lost his power to the Generalissimo. Leu Buh was the chief general and the adopted son of the Generalissimo Doong Jwo. Then the Official (Sy Twu) Wang Yeun planned out a "coup with coup" strategy to assassinate the Generalissimo Doong Jwo. He first granted the beautiful daughter "Diau Charn" to be the wife of Leu Buh who was the son of the Generalissimo Doong Jwo. Once Leu Buh had fallen in love with Diau Charn's beauty, then he purposely presented the beautiful daughter Diau Charn to be the concubine-wife of the Generalissimo Doong Jwo. This caused the jealous son Leu Buh stabbed his own father i.e. the Generalissimo Doong Jwo to death after a quarrel between father and son for the same pretty young love "Diau Charn" at home.

貂蟬是西元189年至196年之東漢末年高官司徒王允的義女. 當時東漢王朝之中央大權為大將軍董卓的軍事力量所控制, 漢獻帝已經失權於大將軍董卓. 呂布為大將軍董卓的義子與大將. 司徒王允便設下連環計以刺殺大將軍董卓, 他先把貂蟬許配給呂布, 等呂布愛上貂蟬後, 再將貂蟬獻給大將軍董卓. 此舉導至妒忌的呂布在家中為了同一個年輕愛人貂蟬而與義父董卓激烈爭吵後, 一刀刺死了大將軍董卓.

中國古代歷史上四大美女之一 "楊貴妃 Yang Guifei"
One of Top 4 Famous Beauties of Ancient China in the History

"Queen Yang Guifei" (719 - 756) was nominated as the Concubine Queen of Emperor Tang Shyuanzhong in year 745 of Tang Dynasty. She was so beautiful that she was always making the Emperor to ignore the country duty. Thus in year 756, the army garrison troops forced the Emperor to kill her, otherwise they should all rebel against the Emperor. Then the Emperor had to kill her with a rope in front of troops by his own order without any choice.

楊貴妃 (楊玉環) 於西元745年為中國唐朝皇帝唐玄宗冊封為"貴妃".
她是如此美麗, 常使唐玄宗不理國事. 因此, 在西元756年皇帝禁軍將士發生兵變, 請殺貴妃, 唐玄宗不得不縊殺之, 以阻兵變.

中國古代歷史上四大美女之一 "王昭君 Wang Jaujiun"
One of Top 4 Famous Beauties of Ancient China in the History

"Wang Jaujiun" was a civil beauty. She was selected as a to-be-queen into the Imperial Palace in 38 B.C. by the Emperor Han Yuan Dih of Han Dynasty. But she was so confident of her own beauty, thus she refused to bribe the Palace painter Mau Yanshow as other beauties had all done. Then the Palace painter Mau unhappily painted her out to be an ugly girl as her portrait and presented it to the Emperor who hadn't yet seen her. Meantime Western Mongolian King asked to marry a princess from the Han Dynasty for peace. So the Emperor jokingly nominated this "ugly girl on the painting" to be the princess for this peace marriage. At that very day of this marriage, once the Mongolian King saw the beauty, he was so happy as to swear not to invade China. But the frustrated Emperor had to cut off that Palace painter Mau's head. The descendants of Wang Jaujiun with the Mongolian King hundreds of years later conquered the Eastern Europe, built up a Hungarian Empire (Hungary, Serbia,...etc), fought against and finally caused the collapse of Roman Empire in the history.

王昭君是個平民美女. 於西元前38年為中國漢朝漢元帝選入宮中. 但王昭君對於自己的美麗充滿信心, 不願意像其他宮女般去賄賂宮中畫匠毛延壽. 不高興的毛延壽便將她的肖像畫成一位醜女並獻給未曾看過她的漢元帝觀賞. 此時匈奴王欲娶漢朝公主和親, 漢元帝便開玩笑似地將畫中醜女充作漢朝公主嫁給匈奴王. 結婚當日, 匈奴王一見新娘如此美麗, 便發誓不再侵犯中原. 充滿挫折感的漢元帝便將宮中畫匠毛延壽砍頭治罪. 王昭君與匈奴王的後裔於數百年後征服了東歐, 在歷史上建立了匈奴帝國(匈牙利, 賽爾維亞,...等地), 與羅馬帝國對戰, 並造成羅馬帝國的垮台.

The beloved fighting cricket mummy of China Emperor Qianlong 1711 - 1799.
西元 1711 年至 1799 年中國乾隆皇帝所最愛的鬥蟋蟀乾木乃伊.

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 grams

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"

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.

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.

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.

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.

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 mater'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.

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.

Mutton Fat White Jade 羊脂白玉

Mutton Fat White Jade

Mutton Fat White Jade is also called Mutton Fat Oily Luster White Jade or Sheet-Fat-Oily White Jade by some collectors.

In ancient China, mutton fat white jade was called Mutton Fat Jade only. Modern people are used to take pure white “White Jade” for granted as Mutton Fat White Jade, thus White has been always inserted in the Mutton Fat Jade by modern collectors.

What is it?

We know that jade is a beautiful semi-translucent precious stone that is 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 led to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Ancient Old Jade grows in value as it ages.

Mutton Fat White Jades can be further classified by archaic ancient and modern ones. Archaic ancient ones are those carved in Han Dynasty China from 206 B.C. to A.D. 220 and owned by the Han Emperor’s family. Then it was not allowed for people not in the imperial family to own such excellent jades in private. Modern ones are those discovered and carved after Qing Dynasty China from A.D. 1644 until nowadays.

There are two major differences between archaic ancient and modern Mutton Fat White Jades. One major difference is that archaic ancient Mutton Fat White Jades have semi-boiled rice phenomena in the jades’ muscular tissues nevertheless modern ones have no such phenomena.

Another difference is that archaic ancient Mutton Fat White Jades have been buried in the earth for more than 2000 years and have been confirmed and tested the same oily in luster and smooth in surface as carved before after such a severe thousands years of burying underground, while modern ones have not been tested in the earth for 2000 years yet. The quality of modern ones is still unknown to us.

People are used to take pure white jades with oily luster as modern Mutton Fat White Jades, and it’s really very difficult to decide it’s true or not. We can’t bury these pure white jades with oily luster in the earth for another 2000 years to examine if they are qualified not to be destroyed as archaic ancient ones. We have no governmental standards to compare if they are true Mutton Fat White Jades or not, as until so far there are still no such standards published by related governmental organizations. Thus everybody has a different measuring ruler in his own mind and modern Mutton Fat White Jades have become so popular almost everywhere in the world for you to examine them freely with volume. Since there are no standards, there are no true criteria, neither. People has to judge by his own preference.

Besides archaic ancient Mutton Fat White Jades were carved with extremely smooth “His Imperial Majesty Dignity of Han Emperor and an Appearance of King” by the excellent imperial jade carving master in Western Han Dynasty China for certain and modern Mutton Fat White Jades are absolutely not to be done and copied by modern carvings in this respect.

A Carved Archaic Sheep-Fat-Oily Mutton Fat White Jade Linking Clouds Royal Dragon Pendant 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.

A Carved Archaic Sheep-Fat-Oily Mutton Fat White Jade Linking Clouds Emperor's Extremely Good Auspices Presented by Dragon and Phoenix Pendant was also carved with extremely smooth “His Imperial Majesty Dignity of Han Emperor and an Appearance of King” by the excellent imperial jade carving master in Western Han Dynasty China.

History

Among the Archaic Ancient Old Jades of various kinds, the Archaic Ancient Mutton Fat White Jade was a gem class jade of the best quality ever found in Han Dynasty China 206 B.C. - A.D. 25. Since it was so recorded in the history 2000 years ago, modern people have never seen it nowadays. It was the only privilege jade of ancient Emperors' family in Han Dynasty China.

Used in art

The work of art made by this kind of jade was left so scarcely and has been seen rarely in this world. Thus modern people can only use personal imaginations and the data searched from internet to guess what it was and try to figure out what it would have been looked like. Its color is as that of fresh sheep fat just cut and has oily shining luster. Its inner jade muscular tissue contents have semi-boiled rice phenomena commonly 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.

Appearance

It looks like foggy translucent due to its sheep Mutton Fatlike Oily Luster 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 the solidified sheep oily 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, while the jade that has been manually handled with deceiving glass light in its appearance has no such a function of varied skin colors any more.

The archaic works of art done by this kind of jade are rare.

A Carved Archaic Sheep-Fat-Oily 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 grams) was carved with the same "Archaic Mutton Fat Oily 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.

Another typical example is a Carved Archaic Sheep-Fat-Oily Mutton Fat White Jade "Linking Clouds" Emperor's Extremely Good Auspices Presented by Dragon and Phoenix Pendant 206 B.C. - A.D. 25 Western Han Dynasty China (Size: Diameter 7 x Depth 0.6 cm, Weight: 54 g).

This Archaic Sheep-Fat-Oily Mutton Fat White Jade Linking Clouds Emperor's Extremely Good Auspices Presented by Dragon and Phoenix Pendant was carved with extremely smooth “His Imperial Majesty Dignity of Han Emperor and an Appearance of King” by the excellent imperial jade carving master in Western Han Dynasty China 206 B.C. - A.D. 25.

Even if the "Archaic Mutton Fat Oily Luster 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 has the same smooth, shiny, oily luster 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 has been classified as gem class valuable precious stone.

The "Archaic Mutton Fat White Jade Carved Western Han Queen's Seal" (Weight 33 g) collected by Shaanxi History Museum, Shaanxi Province, China, and the "Archaic Sheep-Fat-Oily White Jade Carved Western Han Dynasty Linking Clouds Royal Dragon Pendant", both are rare and have been buried in the water and earth for more than 2000 years, but they are only slightly soaked in skin parts and still has the same smooth, shiny, oily luster as before due to its solid and dense quality. This proves that their very precious value never to be broken over thousands of years and the main reason why the works of art carved by Mutton Fat Oily Luster White Jade have been always classified as gem class valuable national treasures in jade market.

Wonderful and Amazing Soakage of an Archaic Ancient Mutton Fat White Jade

The "Archaic Sheep-Fat-Oily White Jade Carved Western Han Dynasty Linking Clouds Royal Dragon Pendant" 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 of Mutton Fat White Jade - An Archaic Sheep-Fat-Oily White Jade Carved Sheep Dragon with Dark Brown Tail" existing in the world nowadays.

Basic Concepts of Authenticity Examinations for Archaic Ancient Old Jades and Archaic Ancient Mutton Fat White Jades

(1) Scratch Test: Archaic Ancient Mutton Fat White Jades are firm enough to resist from Scratch Test by human finger nails.

(2) Semi-Translucence Test: Archaic Ancient Mutton Fat White Jades are semi-translucent under the light of portable flashlight.

(3) Sound Test: The sound of an Archaic Ancient Mutton Fat White jade knocked slightly on another jade is just like that from a fine musical instrument and very clear. It’s not such heavy as those sounds knocked by stones or plastic goods.

(4) Soakage Color Test: The soakage color formed in the earth for thousands of years are natural. People are used to put Archaic Ancient Mutton Fat White Jades in pure clear warm water for at least one day and one night to see if the soakage color is still remained the same as usual before to judge if it’s dyed manually. From long-term basis, the manually dyed Fakes will fade their false soakage colors into one another gradually.

(5) Age Test: The Archaic Ancient Mutton Fat White Jades must have the appearance and totems of Imperial Royal His Majesty Dignity of an Emperor or a King in Han Dynasty China. This is quite different from the modern jade carved work of art designed just for an Art purpose only.

(6) Carvings of Holes Test: The holes of Archaic Ancient Mutton Fat White Jades were not straight penetrated from one side. They were penetrated from two sides and formed a curve path gap between two holes from each side.

(7) Carvings of Lines Test: The inclined feminine lines of Archaic Ancient Mutton Fat White Jades were not carved by machine tools that make lines straight forward with two sides of line wall straight upward vertically. They were carved one side of line wall straight upward vertically, while another side of line wall plane inclined by ancient bronze jade carving wheels.

(8) Totems test: The Archaic Ancient Mutton Fat White Jades must have Jade Carving Totems used in Han dynasty to be presented to the Imperial Royal His Majesty Dignity of an Emperor or a King in Han Dynasty China.

(9) Smooth Carvings Test: The Archaic Ancient Mutton Fat White Jades were carved by imperial skillful hand-made jade carving masters and must be carved simply, clearly and smoothly upon specially selected solid fine jades. This kind of carving is not existed in modern world by machine tools and art carving artists or sculptors.

(10) Weight (Density) Test: A true experienced jade collector or dealer can easily tell the difference between an Archaic Ancient Mutton Fat White Jade and other stones by just holding this Jade in hand to feel its heavy weight of high density.

(11) Surface Test: The surface of an Archaic Ancient Mutton Fat White is very smooth and quite different from other stones. A true experienced jade collector or dealer can easily tell the difference between this Jade and other stones by just touching the surface of an Archaic Ancient Mutton Fat White jade carved work of art gently with his fingers.

(12) Color Test: A true experienced jade collector or dealer can easily tell the difference between an Archaic Ancient Mutton Fat White Jade and other stones by just examining its natural beautiful color appeared in front of human eyes.

Reasons for Archaic Ancient Mutton Fat White Jades to become Gem Class Most Valuable National Treasures

The reasons why the “Archaic Mutton Fat Oily Luster 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) Its firm character of being not to be destroyed in the water and earth even after having been buried for thousands of years: The hardness, solidness and firmness of the “Archaic Mutton Fat Oily Luster 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 have still the same smooth, shiny, oily luster as before with the same sheep fatlike oily luster as their original carvings had, and is not 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!

Due to the beautiful natural characteristic semi-translucent nature shown like the changeable skin color of a lizard, once Archaic Mutton Fat White Jade is placed in front of backgrounds of six different colors, the gorgeous colors shown by this jade is to be changed accordingly.

(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 Mutton Fat Oily Luster 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 freely. 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 Mutton Fat White Jade” into fine and beautiful work 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 mater'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 in 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 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 it was in peaceful or warring times.

Reference

(1) Archaic Sheep-Fat-Oily Mutton Fat White Jade carved Western Han Queen's Seal (H 2 x W 2.8 x D 2.8 cm 33 g) in Western Han Dynasty, Shaanxi History Museum, Shaanxi Province, China.

http://www.sxhm.com/web/bgscn.asp?id=6578

(2) Archaic Sheep-Fat-Oily Mutton Fat White Jade carved Dragon Pendant and Cicada (collected by Nanjing Museum) in Western Han Dynasty, Hunan Provincial Museum, Hunan Province, China.

http://www.hnmuseum.com/hnmuseum/collection/collectionWeekInfo.jsp?type=2&columnid=0120adc9a88c4028848320ac6cc70070&preid=010ca49c08a2402881c10ca495330009

(3) Mutton Fat White Jade in Chinese language, Encyclopedia of Taiwan, Ministry of Culture, Taiwan, R.O.C.

http://taiwanpedia.culture.tw/web/content?ID=100809

羊脂白玉

羊脂白玉可分成高古羊脂白玉與近現代羊脂白玉兩種。

高古羊脂白玉

高古羊脂白玉主要是指中國古代西元前206年至西元220年中國漢朝時期的皇帝家族特權專用玉，亦為中國漢朝時期用玉中的寶石級極品，因為其質地非常硬密，堅硬及強韌度遠遠勝過鋼鐵與其他類的玉種，而出土的高古羊脂白玉亦證明其入土 2000 餘年卻仍然溫潤如初，油脂光澤如故，並未遭受毀壞，如下方三例︰

(1) 中國陝西省陜西歷史博物館的館藏 "高古羊脂白玉雕西漢皇后之璽" (1968年出土於陝西省咸陽市韓家灣狼家溝村。高 2.8 厘米，邊長 2.8 厘米，重 33 公克。)。

(2) 西元前206年至西元25年中國西漢朝時期 “高古羊脂白玉透雕漢朝皇帝用勾連雲紋龍鳳呈祥珮” (環珮直徑 7 厘米，厚度 0.6 厘米，重 54 公克。)。

(3) 西元前206年至西元25年中國西漢朝時期 “高古羊脂白玉透空圓雕漢朝皇室用勾連雲紋龍形珮” (珮高 4.4 厘米，寬 6.7 厘米，厚度 1 厘米，重 56 公克。)。

高古羊脂白玉的存世量極為稀少，因此一直是極為罕見。許多人品玉、賞玉、玩玉一輩子，卻無緣接觸到真正的高古羊脂白玉。此玉色若羊脂，具油脂性光澤，玉之白色肌裡有天然古玉的飯滲現象，而明清及現代玉則無。因其水頭足而呈霧狀之天然半透明狀，此點則與白玉的明確白色玉皮外表略有不同。油脂光澤白色中則透出微微黃色, 有點像羊脂的乳白色或微微乳黃色。玉質溫潤堅密，瑩透純淨，潔白無瑕，如同凝脂，縱使入土千年不壞，仍然溫潤堅密如故。玉皮上並無任何的玻璃賊光現像，其皮色可因主人之長期盤玉而起微微的變化。

高古羊脂白玉並非是使用現代的機械工具所雕琢, 而是利用中國古代的手工雕法。因此高古羊脂白玉之雕琢皆為厚實，簡練，古工流暢，並常常刻有中國西漢朝時期所常用之陰線花式勾連雲紋圖騰，此皆為中國西漢朝時期的慣用玉雕技法與紋飾。而高古羊脂白玉工藝品之玉皮上，亦往往具備有非常清楚與明顯的中國古老羊脂白玉黃土微沁色於其玉皮上，但玉肉質則因質地非常硬密而往往千年不沁，一切仍舊溫潤堅密如故。

古玉及古羊脂白玉的基本真假鑑定觀念︰

(1) 指甲刮痕測試︰古玉及古羊脂白玉之硬度足以抗拒人類指甲之任何刮傷痕跡。

(2) 半透光測試︰古玉及古羊脂白玉於手電筒燈光照射時是半透光的。

(3) 敲擊聲測試︰以一件古玉及古羊脂白玉輕輕敲擊另一件古玉及古羊脂白玉時，可發出如精良樂器般清脆悅耳的聲音，不像其他類石頭或是塑膠製品之敲擊聲那麼悶重。

(4) 沁色測試︰古玉及古羊脂白玉埋入土中數千年所產生的沁色是天然的。大家習慣將古玉及古羊脂白玉浸入清潔溫水中至少一天一夜以上，觀察其沁色是否仍然保持自然如前，藉以判斷是否為人工染色。從長期盤玉觀點而言，人工所染之色將逐漸褪去色彩而顯得不自然。

(5) 古老年代測試︰古玉及古羊脂白玉必須具備有皇家皇帝或帝王之尊貴威嚴圖騰，此點與現代純粹以藝術工藝品為目的之現代玉石雕琢工藝確實有所不同。

(6) 鑽洞技術測試︰古玉及古羊脂白玉之鑽洞技術並非是從一方以一洞直直地鑽到底；而是從兩方分別打洞而在兩洞之接觸點形成彎曲途徑的銜接縫隙接點。

(7) 陰刻線紋測試：古玉及古羊脂白玉之陰刻線紋並非是以形成線紋兩側溝壁皆是垂直向上直直往前行的現代電動手工具所刻成；其陰刻線紋是一側線紋溝壁為垂直向上，另一側線紋溝壁則是如傾斜平面般的勾撒斜刀法，主要是因為古代青銅製玉石雕琢舵輪工具所形成之故。

(8) 圖騰線紋測試︰古玉及古羊脂白玉必須具備有皇家皇帝或帝王之尊貴威嚴圖騰線紋，如龍紋、鳳紋、勾連雲紋…等皆是。

(9) 雕工熟練平滑測試︰古玉及古羊脂白玉雕工藝品是由古代皇室玉工以特選堅固玉石及熟練人工雕琢工藝技術所刻成。這種人工雕琢工藝技術在現代以電動手工具雕琢玉石的雕刻或雕塑藝術家中已經不存在。

(10) 手感沉重密度高測試︰有經驗的收藏家或經銷商，將古玉及古羊脂白玉放在手掌中，憑其手感沉重與否及密度高低便可斷出其玉石真偽。

(11) 玉皮平滑測試︰古玉及古羊脂白玉的玉皮異常平滑，與其他類石頭顯然不同。有經驗的收藏家或經銷商，以手指頭輕柔地摸一摸古玉及古羊脂白玉所雕琢的工藝品表面，便可輕易分辨出其玉石真偽。

(12) 玉色自然美麗測試︰古玉及古羊脂白玉之玉色在人類眼睛面前顯得自然而美麗，有經驗的收藏家或經銷商一看便知其玉石真假。

高古羊脂白玉雕藝術品皆被當作是寶石級珍貴寶物的主要原因為:

(1) 高古羊脂白玉之堅硬及強韌度皆為遠勝過鋼鐵與其他類玉種，而已出土的高古羊脂白玉更是證明其入土 2000 餘年卻是仍然溫潤如初，油脂光澤溫潤如故，並未能毀壞，其刻成之工藝品可千年不壞。

(2) 因為高古羊脂白玉是天然半透明的，所以當其背景的色系調節變化時，高古羊脂白玉所顯示的天然絢麗色彩亦隨著變化，宛如蜥蝪變色龍一般，其半透明的天然美麗特質真是令人驚歎不已。

(3) 因其質地硬密，形成時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，卻比鑽石大，可供古代的中國人將之雕琢成精美的藝術品供皇帝鑑賞。

(4) 中國人對於古代皇室家族所持有的 “千年古玉” 可保護主人的身體健康與帶來主人的好心情及好運勢等等的神話與傳奇故事為歷久彌新，永不毀滅。

(5) 因其價值非常昂貴，卻是體積很小，便於一般人的貼身攜帶及藏匿，又千年不易毀壞，為古代中國人的最佳祖傳家寶與保值投資性避風港商品，故古人常云︰「黃金有價，玉卻無價。」。

近現代羊脂白玉

近現代羊脂白玉則是指清代以後所新開採的羊脂白玉而言，因為沒有國家或官方機構所制定的鑑定標準值可供參考，也不可能將近現代羊脂白玉埋入地下 2000 年，等 2000 年以後再挖出來看它是否真為千年不壞。因此一般人皆以具油脂光澤、外表潔白無瑕的白玉作為羊脂白玉的代表，但是因為沒有一定的標準值，也就無法說它到底是真還是不真，各人心中自然會有一把尺。

近現代羊脂白玉與高古羊脂白玉最大的差別在於高古羊脂白玉具有古玉的飯滲現象及已經歷經過古代 2000 餘年的入土千錘百鍊嚴峻考驗，故較為具體而真實。但近現代羊脂白玉並未有古玉的飯滲現象，也尚未接受過入土 2000 餘年的嚴厲測試。因此，是否真正為「千年不壞」還仍然是個未知數。

參考資料

(1) 陝西省陜西歷史博物館館藏羊脂白玉雕西漢皇后之璽 (1968年出土於陝西省咸陽市韓家灣狼家溝村。高 2.8 厘米，邊長 2.8 厘米，重 33 公克。)。

http://www.sxhm.com/web/bgscn.asp?id=6578

(2) 湖南省博物馆透雕动物纹玉嵌饰深入探索汉代玉器欣赏西汉后期龙形玉佩 (南京博物馆藏长4. 7厘米宽2. 8厘米 1974年江苏省盱眙县东阳四号墓出土羊脂白玉)。

http://www.hnmuseum.com/hnmuseum/collection/collectionWeekInfo.jsp?type=2&columnid=0120adc9a88c4028848320ac6cc70070&preid=010ca49c08a2402881c10ca495330009

(3) 羊脂白玉, 台灣大百科全書, 文化部, 台灣, 中華民國.

http://taiwanpedia.culture.tw/web/content?ID=100809

張大千畫技的大膽冒險

A Bold Venture of Zhang Daqian’s Painting Techniques

從 100% 中國書畫到 60% 中國書畫再到 20% 中國書畫及 80% 油畫
From 100% Chinese Painting Technique to 60% Chinese Painting Technique and further to 20% Chinese Painting Technique plus 80% Oil Painting Technique

Painting Techniques of Zhang Daqian (Chang Dai-chien) 張大千 Zhang Daqian 张大千的畫法

Painting Techniques of Zhang Daqian (Chang Dai-chien)

Zhang Daqian

Zhang Daqian (1899 – 1983 Chang Dai-chien) is a renowned Chinese painter. The total auction turnover revenues of his paintings in 2011 were US 554,537,029 dollars (US 314,944,104 dollars in 2010) and thus became the top number one champion artist by auction revenue of the world in 2011.

Painting techniques

The Painting Techniques of Zhang Daqian (Chang Dai-chien) can be grouped into the following categories:

（1） Very Fine and Delicate Drawings of Lotus and other Flowers, Grasses and Trees.

（2） Impressionistic Paintings of Lotus and other Flowers, Grasses and Trees.

（3） Golden Outlined Drawings of Red Lotus.

（4） Very Fine and Delicate Drawings of Figures, Animals, Birds, and Fowls.

（5） Paintings of Gentlemen.

（6） Paintings of Beautiful Ladies.

（7） Arts of Dunhuang Caves (a treasure house of Buddhist scriptures, paintings and statues) and related religious paintings.

（8） Poetic Paintings derived from Ancient Poetry of China.

（9） Painting After or Imitating the Renowned Landscape Paintings of Chinese Ancient Painting Masters from Tang Dynasty to Qing Dynasty.

（10） Famous Mountain, Lake and River Sceneries in China.

（11） Very Fine and Delicate Drawings of Landscapes.

（12） To add the Final Finishing Splashed Parts and Refined Brushed painting technique created at the early splashed painting period of Zhang Daqian.

（13） Impressionistic Rough Splashed and Refined Brushed painting technique created in mid splashed painting period of Zhang Daqian.

（14） Expressionistic Rough Splashed and Abstract painting (Abstract art) technique created from the mid to late splashed painting period of Zhang Daqian.

（15） Refined Splashed and Refined Brushed painting technique created at the late splashed painting period of Zhang Daqian.

His Refined Splashed and Refined Brushed Painting Technique

The Refined Splashed and Refined Brushed painting technique used by Zhang Daqian on his renowned paintings was created by him at his late splashed painting period. Although some parts were still painted subordinately with Chinese Traditional painting techniques and styles such as Very Fine and Delicate Drawings, Impressionistic Painting, Outlined Drawing, Colors 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 these painting finished by this method. Painter has to control the splashed color dyeing conditions on paper just as holding a fine brush on hand. He has to splash (brush) it as precisely as his painting will in mind. Painter also has to understand even the splashed speed and degree of the paper material so used very well. A little minor mistake happened upon splashed painting is not allowed. He can not just paint it randomly by finishing it roughly. If a painter had no such a wonderful splashed ink and colored painting experience for at least more than decades, he can not do it very well. It's so difficult and impossible for other painters to copy or imitate after it. Otherwise the copying painter or imitating painter will just waste his working papers and expensive color pigments for sure. The painting works of art done by this kind of 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 as gifts to promote the painting reputation of Zhang Daqian and had been always locked into deep cellar of Governmental Residency.

Reference Paintings of Zhang Daqian

（1） One Flower in One World White Lotus and attached calligraphy, by Zhang Daqian dated Mar.1978.

（2） After the Rising and Warm Green Mountains by Huang Gongwang with Calligraphy, by Zhang Daqian dated 1947.

（3） Han Changli Composed a Lyric Poem Derived from Chu Dynasty, by Zhang Daqian dated 1979.

（4） A Bird’s-eye View on Taiwan Cross-Island Road near Herhuan (Central Cross-Island Highway), splendid golden-outlined landscape splashed painting, by Zhang Daqian dated 1978.

（5） 18 Luohan Disciples Appointed to Witness to Buddhist Truth, by Zhang Daqian dated 1936.

（6） Recalling the Beautiful Scenery of Mountain Huang in China, by Zhang Daqian dated 1979.

（7） Scholars Appreciating Maples, by Zhang Daqian dated 1979.

（8） Lady with a Fan, Bamboos, Parrot Hairpin, in Tang’s Clothes (Tang Dynasty), by Zhang Daqian dated 1980.

（9） The Dreamland of Mountain Qingcheng in Heavenly Place, by Zhang Daqian dated 1981.

（10） The Heavenly Place in Mankind World, by Zhang Daqian dated 1982.

（11） Splashed Landscape Fuchun Mountain, by Zhang Daqian dated 1978.

（12） Sun is Rising and Darkness is Fallen allover the Mountain with Calligraphy, by Zhang Daqian dated 1979.

（13） Happy Birthday to Chairman Chang Kai-shek of the Government, by Zhang Daqian dated 1944, preface inscribed by Yu Youren.

（14） Spring Cloud and Morning Mist, by Zhang Daqian dated 1979.

（15） Painting the Elder Bintourlu after Technique of Song Dynasty, by Zhang Daqian dated 1946.

（16） Beauty in Red Hair-kerchief, Wooden Shoes, White Robe, Bamboos, by Zhang Daqian dated 1980.

（17） Black Cloud Covering on Top of Mt. Emei among Blue Cloud, by Zhang Daqian dated 1979.

（18） Listening to the Springs below the Mountains, splendid golden-outlined splashed color landscape, hand scroll, preface self-inscribed, by Zhang Daqian dated 1980.

（19） Waterfall in a Quiet Mountain Valley with Calligraphy, by Zhang Daqian dated 1980.

（20） Golden Outlined Red Lotus and a Flying Bird, by Zhang Daqian dated 1978.

（21） Dwelling in the Mountain by the Lake Wuting, by Zhang Daqian dated 1967.

（22） Impressionistic Red Lotus, by Zhang Daqian.

（23） Splashed Colour Landscape of Beautiful Mountain Qingcheng, by Zhang Daqian dated 1973.

（24） Mountain Emei May Be Crossed On Top, by Zhang Daqian dated 1971.

（25） Spring Cloud and Morning Mist, by Zhang Daqian dated 1965.

Reference

* Painting Techniques of Zhang Daqian (Chang Dai-chien) in Chinese language, Encyclopedia of Taiwan, Ministry of Culture, Taiwan, R.O.C.

http://taiwanpedia.culture.tw/web/content?ID=100808#

張大千 Zhang Daqian 张大千的畫法

張大千 Zhang Daqian 张大千

張大千 Zhang Daqian 张大千 (1899 – 1983 Chang Dai-chien) 是一位知名的中國畫家. 在2011年其名畫作品的全世界總拍賣收入金額高達美金 US 554, 537, 029 元 ( 在2010年為美金US 314, 944, 104 元 ) 而躍居2011年全世界總拍賣收入的冠軍第一名寶座地位.

張大千 (Zhang Daqian / Chang Dai-chien) 先生的畫法可歸類成下面數大類︰

（1）工筆荷花及草木類。

（2）寫意荷花及草木類。

（3）鈎金紅荷。

（4）工筆人物及動物禽鳥圖。

（5）高仕圖。

（6）仕女圖。

（7）敦煌石壁及宗教畫作。

（8）古人詩意圖。

（9）仿、擬古代各大名家之山水圖名作。

（10）中國名山名水勝景圖。

（11）工筆山水圖。

（12）開創於早期的 "畫龍點睛(點景)式" "潑墨" 及 "潑彩" 畫法。

（13）開創於中期的 "粗潑細筆(寫意)式" "潑墨" 及 "潑彩" 畫法。

（14）開創於中晚期的 "粗潑抽象式" "潑墨" 及 "潑彩" 畫法。

（15）開創於晚期的 "細潑細筆式" "潑彩" 畫法。

而張大千先生開創於晚期的 "細潑細筆式潑彩" 畫法，其於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。這種畫法非常地困難，因為畫家必須如同手握 "細筆" 一般地控制住 "潑彩渲染度"，不論是在畫中色彩的調合度與其筆意，皆必須完全 "意到即筆到(潑到)" 般地恰到好處，絲毫不容許有任何的潑彩渲染差錯，連作畫用紙的渲染度亦必須是由畫家拿捏地非常精準，完全無法 "既然粗略隨意潑之，即大概屈就以成之。"。因為此種畫法非常耗時又耗工，沒有畫家本人自己數十年的 "潑墨" 及 "潑彩" 畫功及足夠經驗，他人根本就是無法臨摹仿擬並加以潑畫之，否則只是糟蹋浪費自己的畫紙與昂貴的礦石顏料而已。因此成品並不多，傳世及見世作品亦不多，張大千先生都是以這種畫作成品當作交際贈送予國民黨黨國元老們欣賞，而被鎖入深宮。

參考張大千畫作︰

（1）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。

（2）After the Rising and Warm Green Mountains by Huang Gongwang with Calligraphy, by Zhang Daqian dated 1947. 張大千1947年作 "擬元代黃公望浮巒暖翠山水圖及書法立軸" 橫幅設色紙本鏡片。

（3）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。

（4）A Bird’s-eye View on Taiwan Cross-Island Road near Herhuan, splendid golden-outlined 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" 橫幅設色紙本鏡片。

（5）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。

（6）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" 橫幅設色紙本鏡片。

（7）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。

（8）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。

（9）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" 直幅設色紙本鏡片。

（10）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" 直幅設色紙本鏡片。

（11）Splashed Landscape Fuchun Mountain, by Zhang Daqian dated 1978. 張大千1978年作 "富春山居潑彩山水圖" 橫幅設色紙本鏡片。

（12）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" 橫幅設色紙本鏡片。

（13）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。

（14）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。

（15）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" 橫幅設色紙本鏡片。

（16）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" 紙本立軸。

（17）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" 設色紙本立軸。

（18）Listening to the Springs below the Mountains, splendid golden-outlined splashed color landscape handscroll, preface self-inscribed, by Zhang Daqian dated 1980. 張大千1980年作 "山水生風聽泉入山麓金碧潑彩山水圖" 手卷。

（19）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" 直幅設色紙本鏡片。

（20）Golden Outlined 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。

（21）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。

（22）Impressionistic Red Lotus, by Zhang Daqian. 張大千作 "寫意紅荷圖" 橫幅設色紙本鏡框。

（23）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" 橫幅設色紙本鏡片。

（24）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" 橫幅設色紙本鏡片。

（25）Spring Cloud and Morning Mist, by Zhang Daqian dated 1965. 張大千1965年作 "春雲曉靄潑彩山水圖" 潑彩設色絹本鏡片。

參考資料

* 張大千的畫法 Painting Techniques of Zhang Daqian (Chang Dai-chien), 台灣大百科全書 Encyclopedia of Taiwan, 文化部 Ministry of Culture, 台灣 Taiwan, 中華民國 R.O.C.

http://taiwanpedia.culture.tw/web/content?ID=100808#

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

An art seller can also be an art buyer! 一位藝術品的賣方也可能是一位藝術品的買方!

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!

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