姑苏繁荣图

时间:2020-11-25 18:34:26

来源:未知

《姑苏繁荣图》是清代苏州籍宫廷画家徐扬的创作的纸本画作。全长十二米多,画面“自灵岩山起,由木渎镇东行,过横山,渡石湖,历上方山,介狮和两山之间,入姑苏郡城,自葑、盘、胥三门出阊门外,转山塘桥,至虎丘山止”。据统计,画中约有一万两千余人,近四百只船,五十多座桥,二百多家店铺,两千多栋房屋。《姑苏繁荣图》以长卷形式和散点透视技法,描绘了当时苏州“商贾辐辏,百货骈阗”的市井风情,是《清明上河图》后的又一宏伟长卷。整个画卷布局精妙严谨,气势恢宏,笔触细致,十分细腻地刻画出了江南的湖光山色、田园村舍、阊胥城墙、古渡行舟、沿河市镇、流水人家、民俗风情,官衙商肆,描绘了苏州城郊百里的风景和街市的繁华景象,形象地反映了18世纪中叶苏州风景秀丽、物产富饶、百业兴旺、人文荟萃的繁盛景象,具有很高的艺术鉴赏价值。作品采用了全景式构图,以一种”旷观”的形式来表现,人物、屋宇、建筑有条不紊、人流熙来攘往,却显得井然有序,活泼舒展,高低错落的景物十分和谐,富有节奏的韵律。创作者对于每一个具体人物的表现,都进行了细致入微的观察,最后组成一个错综复杂的动人画卷。作品真正的艺术价值在于它结合了时间和空间的艺术,使得观赏绘画的人有一种’’在场感”,人物的动作呼之欲出,似置身于其中一样,而且在细节的处理上也都十分到位。

"Gusu Prosperity Picture" is a paper painting created by Xu Yang, a court painter of Suzhou origin in the Qing Dynasty. With a total length of more than 12 meters, the picture "starts from Lingyan Mountain, travels eastward from Mudu Town, crosses Hengshan, crosses Shihu Lake, Lishangshan Mountain, between Jieshi and Liangshan, and enters Gusu County from Feng, Pan and Xu. Three gates go outside Changmen, turn to Shantang Bridge, and stop at Huqiu Mountain." According to statistics, there are about 12,000 people in the painting, nearly 400 boats, more than 50 bridges, more than 200 shops, and more than 2,000 houses. "Gusu Prosperous Map" uses a long scroll form and scatter perspective technique to depict the market style of Suzhou's "merchants and department stores" at that time. It is another magnificent scroll after "Qingming Shanghetu". The layout of the entire picture scroll is exquisite and rigorous, magnificent, with meticulous brushstrokes, very delicately depicting the lakes and mountains in the south of the Yangtze River, rural villages, Langxu city walls, ancient ferry boats, towns along the river, people on flowing water, folk customs, and official offices and shops. The scenery of Baili in the suburbs of Suzhou and the prosperous scene of the downtown market vividly reflect the prosperous scene of Suzhou in the middle of the 18th century with beautiful scenery, rich products, prosperous industries, and cultural gatherings. It has a high artistic appreciation value. The work adopts a panoramic composition and expresses it in a form of "exploring". The characters, houses, and buildings are in an orderly manner, and the flow of people is busy, but they appear orderly, lively and stretched. The high and low sceneries are harmonious and full of rhythm. The creators have made meticulous observations on the performance of each specific character, and finally formed an intricate and moving picture. The true artistic value of the work is that it combines the art of time and space, so that people who watch the painting have a sense of presence. The movements of the characters are ready to appear, as if they are in it, and the details are also well handled.

吴昌硕(1844年8月1日—1927年11月29日),初名俊,又名俊卿,字昌硕,又署仓石、苍石,多别号,常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村(今湖州市安吉县)人。晚清民国时期著名国画家、书法家、篆刻家,“后海派”代表,杭州西泠印社首任社长,与厉良玉、赵之谦并称“新浙派”的三位代表人物,与任伯年、蒲华、虚谷合称为“清末海派四大家”。少年时他因受其父熏陶,即喜作书,印刻。楷书始学颜鲁公,继学钟元常;隶书学汉石刻;篆学石鼓文,用笔之法初受邓石如,赵之谦等人影响,以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧,黄道周之章法,个中又受北碑书风及篆籀用笔之影响,大起大落,遒润峻险。吴昌硕篆刻从“浙派”入手,后专攻汉印,也受邓石如、吴让之、赵之谦等人影响,善于留白,或对角欹斜,气象峥嵘,构图块面体积感极强。刀融于笔,篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝,下挹秦汉,以“出锋钝角”的刻刀,将钱松、吴攘之切、冲两种刀法相结合治印。吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上,融诸家之长,在大量的篆刻创作实践中,不断探索,将冲刀和切刀两种刀法融合在一起,形成了自己的冲切结合的刀法。这种刀法灵活多变,或冲中带切,或切中带冲,甚至切中带削……这种多变的刀法,把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体,将书意和刀意表现得淋漓尽致,使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道,秦汉古印大多因年深日久,水土的浸蚀,自然的风化,印面及文字线条失去了原先的平整和光洁,变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果,这是自然的造化使然。吴昌硕善于巧夺天工,在传统的冲、切刀法的基础上,辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等,极大地丰富了篆刻艺术的表现手法,并创造性地将篆刻艺术中刀石效果产生的金石味,上升到残缺美的审美新境界。

Wu Changshuo (August 1, 1844-November 29, 1927), the first name Jun, also known as Junqing, the word Changshuo, and Cangshi, Cangshi, many aliases, common people include Cangshuo, Lao Cang, Lao Fou, Kutie, Great Deaf, Taoist Fou, Venerable Shi, etc. Born in Zhanwu Village, Xiaofeng County, Zhejiang Province (now Anji County, Huzhou City). Famous Chinese painter, calligrapher, and seal carver during the late Qing Dynasty and the Republic of China, representative of the "Houhai School", the first president of Hangzhou Xilingyin Society, and Li Liangyu and Zhao Zhiqian, three representatives of the "New Zhejiang School", and Ren Bonian , Puhua, and Xugu are collectively called the "Four Masters of the Shanghai School in the late Qing Dynasty". When he was young, because of his father's influence, he liked writing and engraving. The regular script first learned from Yan Lugong, followed by Zhong Yuanchang; the official script learned the Han stone carving; the seal learned the stone drum inscriptions, and the writing method was initially influenced by Deng Shiru, Zhao Zhiqian and others, and later merged and changed in the writing of "Shigu". The running script has the side of Huang Tingjian's and Wang Duo's gestures, and the constitution of the Zodiac Zhou, which is influenced by the style of the Beibei calligraphy and the use of seals and pens. Wu Changshuo started from the "Zhe School" and later specialized in Han seals. He was also influenced by Deng Shiru, Wu Rangzhi, Zhao Zhiqian and others. He was good at blanking, or diagonally slanting, with a magnificent weather and a strong sense of volume in the composition. The knife blends into the pen, and the seal carving is majestic and charming, clumsy and simple, ugly and beautiful, ancient and modern, and upright. Take the Dingyi from the top and traverse the Qin and Han dynasties from the bottom. With a knife with an "obtuse angle", Qian Song, Wu Rangzhi's cutting, and punching are combined to make seals. Wu Changshuo inherited the outstanding achievements of the punching knife and the cutting knife method of his predecessors, combined the strengths of all families, and in the practice of a large number of seal carving creations, he continued to explore and merge the punching knife and the cutting knife together to form It has its own cutting and cutting method. This kind of knife method is flexible and changeable, or cutting with cutting, or cutting with cutting, or even cutting with cutting... This changeable knife method combines the sharpness, vigor and refreshment of the punching knife with the subtleness of the cutting knife. The simplicity is integrated, and the calligraphy and the meaning of the knife are vividly expressed, which highlights the unique characteristics of his seal cutting knife, which is magnificent and elegant. Together with Li Liangyu and Zhao Zhiqian, he is called the three representatives of the "New Zhejiang School". The incomplete knife technique is a common technique in Wu Changshuo's seal carving creation. We know that most of the ancient seals of the Qin and Han Dynasties have lost their original smoothness and smoothness due to the erosion of water and soil, natural weathering, and become incomplete. It is precisely these incompleteness that give us special aesthetic effects such as simplicity, subtlety, vigor, and awkwardness, which are caused by nature. Wu Changshuo is good at skillful workmanship. On the basis of traditional punching and cutting methods, supplemented by knocking, striking, chiseling, grinding or borrowing sand, soles, nail heads, etc., he greatly enriched the expression techniques of seal carving art and creatively combined The gold and stone flavor produced by the knife and stone effect in the seal carving art has risen to a new aesthetic realm of incomplete beauty.

此画为清代著名作家所画,材质为绢本,类似于绸缎。墨迹清晰,有渗透!题头上方有朱砂章印,篆体字为“乾隆御览之宝”,此章为鉴赏章,乾隆预览,提拔过此画。吴昌硕为晚清民国时期著名国画家、书法家、篆刻家。而吴昌硕在右下方也提拔了。为此可以看出章法,题头甚为讲究。姑苏繁荣图描写的是民清时期,江南水乡的一个姑苏夜景,画里人物细节表达清晰,绢本画,收藏价值极高!

吴昌硕中国画坛上颇具影响力的大师。他的最大特点和优点也就是通融和超越,吴昌硕不仅实现了让绘画体现野逸与高古之气,还把中国画推进到一个新的境界,对现代中国绘画界产生了极其深远的影响。他的作品历史价值极高,此画被他提拔盖章,也就意味着吴昌硕收藏过此作品,非常认可,由此可看出这幅画的价值所在!

This painting was painted by a famous writer in the Qing Dynasty. The material is silk, similar to silk. The ink is clear and penetrating! There is a cinnabar seal at the top of the title. The seal type is "The Treasure of Qianlong Imperial View". This chapter is an appreciation chapter. Qianlong previewed this painting. Wu Changshuo was a famous Chinese painter, calligrapher, and seal carver in the late Qing Dynasty and the Republic of China. And Wu Changshuo also promoted in the lower right. For this reason, we can see the chapter method and the title is very particular. Gusu Prosperity Picture depicts a night scene of Gusu in a water town in the south of the Yangtze River during the Ming and Qing Dynasties. The details of the characters in the painting are clearly expressed, and the silk paintings are of high collection value!

Wu Changshuo is an influential master in Chinese painting. His greatest characteristics and advantages are accommodating and transcending. Wu Changshuo not only realized that his paintings embody the wild and ancient spirit, but also promoted Chinese painting to a new level, which had a profound impact on the modern Chinese painting circle. His work is of extremely high historical value. This painting was promoted and stamped by him, which means that Wu Changshuo has collected this work and is very recognized. From this we can see the value of this painting!

Copyright © 2013 All Rights Reserved

版权所有:哈尔滨资讯网