趙孟頫款清明上河圖
趙孟頫南宋末至元初著名書法家、畫家、詩人,宋太祖趙匡胤十一世孫、秦王趙德芳嫡派子孫。 至元二十三年(1286年),趙孟頫被行臺侍御史程鉅夫舉薦,受元世祖忽必烈的禮敬,歷任集賢直學士、濟南路總管府事、江浙等處儒學提舉、翰林侍讀學士等職。累官翰林學士承旨、榮祿大夫。晚年逐漸隱退,后借病乞歸。至治二年(1322年),趙孟頫逝世,年六十九。
Zhao Mengfu is a famous calligrapher, painter and poet from the end of the Southern Song Dynasty to the beginning of the Yuan Dynasty. He is the grandson of Zhao Kuangyin, the emperor of Song Dynasty, and the direct descendant of Zhao Defang, the king of Qin In the 23rd year of the Zhiyuan Dynasty (1286), Zhao Mengfu was recommended by Cheng Jufu, the Minister of the imperial court, and respected by Kublai Khan, the emperor of the Yuan Dynasty. He successively served as a scholar of Jixian, a general manager of Jinan Road, a scholar of Jiangsu and Zhejiang, and a scholar of Hanlin. Tired official, imperial scholar, Ronglu doctor. In his later years, he gradually retired and begged for his return by illness. In 1322, Zhao Mengfu died in 69.
趙孟頫博學多才,能詩善文,懂經濟,工書法,精繪藝,擅金石,通律呂,解鑒賞。尤其以書法和繪畫成就最高。在繪畫上,他開創元代新畫風,被稱為“元人冠冕”;趙孟頫亦善篆、隸、真、行、草書,尤以楷、行書著稱于世。其書風遒媚、秀逸,結體嚴整、筆法圓熟,創“趙體”書,與歐陽詢、顏真卿、柳公權并稱“楷書四大家”。
Zhao Mengfu is a versatile man, good at poetry, literature, economy, calligraphy, fine painting, good at gold and stone, good at rhythm and appreciation. Especially in calligraphy and painting. In painting, he created a new style of painting in the Yuan Dynasty, known as the "crown of the Yuan people"; Zhao Mengfu was also good at seal script, Li, Zhen, Xing and cursive script, especially regular script and running script. His book style is elegant, elegant, neat and well written. He created the "Zhao style" book, which is also known as the "four masters of regular script" together with Ouyang Xun, Yan Zhenqing and Liu Gongquan.
《清明上河圖》原景原貌,各種人物1643多個,牲畜208頭,樹木170多棵,人物、牲畜栩栩如生,生動再現了北宋都城汴京的清明時節的繁榮景象。“藏頭不藏尾”是收藏界的黃金定律,《清明上河圖》無論是藝術價值還是文化及史料價值都世所罕見,升值潛力巨大。從《清明上河圖》中可以看到幾個非常鮮明的藝術特色:此畫用筆兼工帶寫,設色淡雅,不同一般的界畫,即所謂"別成家數"。構圖采用鳥瞰式全景法,真實而又集中概括地描繪了當時汴京東南城角這一典型的區域。作者用傳統的手卷形式,采取"散點透視法"組織畫面。畫面長而不冗,繁而不亂,嚴密緊湊,如一氣呵成。
The original scene of riverside in the Qingming Festival is more than 1643 characters, 208 livestock and 170 trees. The characters and livestock are lifelike, vividly representing the prosperity of Bianjing, the capital of the Northern Song Dynasty. "Hide the head but not the tail" is the golden law of the collection world. The riverside map of the Qingming Dynasty is rare in the world in terms of artistic value, cultural and historical data value, and has great potential for appreciation. From the picture of the river in the Qingming Dynasty, we can see several very distinctive artistic features: this painting is written with a pen and a work belt, with light and elegant colors, and different from the general paintings, that is, the so-called "number of different families". The composition adopts the panoramic method of bird's-eye view to describe the typical area of the southeast corner of Bianjing at that time. The author uses the traditional form of hand scroll to organize the picture with the method of scattered point perspective. The picture is long without redundancies, complex without disorder, tight and compact, just like a coherent one.
畫中所攝取的景物,大至寂靜的原野,浩瀚的河流,高聳的城郭;小到舟車里的人物,攤販上的陳設貨物,市招上的文字,絲毫不失。畫面中,穿插著各種情節,組織得有錯落有致,同時又具有情趣。觀賞度極高,極具收藏意義。
The scenes in the painting are as big as the quiet fields, the vast rivers, the towering city walls, as small as the characters in the zhouche, the display goods on the vendors, and the words on the market bidding. The picture is interspersed with various plots, which are well organized and interesting at the same time.
此副趙孟頫款清明上河圖是樊女士家傳的珍品,趙孟頫款清明上河圖,相較于其他的版本,趙孟頫的這個版本與作者更相符,此畫將北宋時期的和諧景象納入統一而富于變化的畫卷中,表現了汴梁城外的郊野風光,城內汴河兩岸的繁華盛況,市橋經郭、舟船車軒,場面宏大,人物眾多,刻畫精細入微,體現了畫家張擇端精湛的畫功和高超的藝術水準。趙孟頫不僅將其畫還原,更在此幅畫上書寫個人感想,用筆清雋,纖而不弱,力而有韻,寓有剛柔相濟之美,行云流水間霸氣又不失婉約,此乃一絕,極具收藏價值。
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