《姑蘇繁榮圖》是清代蘇州籍宮廷畫家徐揚的創(chuàng)作的紙本畫作。全長十二米多,畫面“自靈巖山起,由木瀆鎮(zhèn)東行,過橫山,渡石湖,歷上方山,介獅和兩山之間,入姑蘇郡城,自葑、盤、胥三門出閶門外,轉(zhuǎn)山塘橋,至虎丘山止”。據(jù)統(tǒng)計,畫中約有一萬兩千余人,近四百只船,五十多座橋,二百多家店鋪,兩千多棟房屋。《姑蘇繁榮圖》以長卷形式和散點透視技法,描繪了當時蘇州“商賈輻輳,百貨駢闐”的市井風情,是《清明上河圖》后的又一宏偉長卷。整個畫卷布局精妙嚴謹,氣勢恢宏,筆觸細致,十分細膩地刻畫出了江南的湖光山色、田園村舍、閶胥城墻、古渡行舟、沿河市鎮(zhèn)、流水人家、民俗風情,官衙商肆,描繪了蘇州城郊百里的風景和街市的繁華景象,形象地反映了18世紀中葉蘇州風景秀麗、物產(chǎn)富饒、百業(yè)興旺、人文薈萃的繁盛景象,具有很高的藝術(shù)鑒賞價值。作品采用了全景式構(gòu)圖,以一種”曠觀”的形式來表現(xiàn),人物、屋宇、建筑有條不紊、人流熙來攘往,卻顯得井然有序,活潑舒展,高低錯落的景物十分和諧,富有節(jié)奏的韻律。創(chuàng)作者對于每一個具體人物的表現(xiàn),都進行了細致入微的觀察,最后組成一個錯綜復雜的動人畫卷。作品真正的藝術(shù)價值在于它結(jié)合了時間和空間的藝術(shù),使得觀賞繪畫的人有一種’’在場感”,人物的動作呼之欲出,似置身于其中一樣,而且在細節(jié)的處理上也都十分到位。
"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.
吳昌碩(1844年8月1日—1927年11月29日),初名俊,又名俊卿,字昌碩,又署倉石、蒼石,多別號,常見者有倉碩、老蒼、老缶、苦鐵、大聾、缶道人、石尊者等。浙江省孝豐縣鄣吳村(今湖州市安吉縣)人。晚清民國時期著名國畫家、書法家、篆刻家,“后海派”代表,杭州西泠印社首任社長,與厲良玉、趙之謙并稱“新浙派”的三位代表人物,與任伯年、蒲華、虛谷合稱為“清末海派四大家”。少年時他因受其父熏陶,即喜作書,印刻。楷書始學顏魯公,繼學鐘元常;隸書學漢石刻;篆學石鼓文,用筆之法初受鄧石如,趙之謙等人影響,以后在臨寫《石鼓》中融匯變通。行書得黃庭堅、王鐸筆勢之欹側(cè),黃道周之章法,個中又受北碑書風及篆籀用筆之影響,大起大落,遒潤峻險。吳昌碩篆刻從“浙派”入手,后專攻漢印,也受鄧石如、吳讓之、趙之謙等人影響,善于留白,或?qū)庆バ?氣象崢嶸,構(gòu)圖塊面體積感極強。刀融于筆,篆刻雄而媚、拙而樸、丑而美、古而今、變而正。上取鼎彝,下挹秦漢,以“出鋒鈍角”的刻刀,將錢松、吳攘之切、沖兩種刀法相結(jié)合治印。吳昌碩在繼承前人沖刀法和切刀法優(yōu)秀成果的基礎上,融諸家之長,在大量的篆刻創(chuàng)作實踐中,不斷探索,將沖刀和切刀兩種刀法融合在一起,形成了自己的沖切結(jié)合的刀法。這種刀法靈活多變,或沖中帶切,或切中帶沖,甚至切中帶削……這種多變的刀法,把沖刀的猛利、挺勁、爽快與切刀的含蓄、渾樸融為一體,將書意和刀意表現(xiàn)得淋漓盡致,使他的篆刻刀法雄渾樸茂中寓秀逸的個性化特點凸現(xiàn)了出來。他與厲良玉、趙之謙并稱“新浙派”的三位代表人物。殘缺刀法是吳昌碩篆刻創(chuàng)作中的一種常用手法。我們知道,秦漢古印大多因年深日久,水土的浸蝕,自然的風化,印面及文字線條失去了原先的平整和光潔,變得殘缺不全。恰恰是這些殘缺給我們以古樸、含蓄、渾厚、蒼拙等特殊的審美效果,這是自然的造化使然。吳昌碩善于巧奪天工,在傳統(tǒng)的沖、切刀法的基礎上,輔之以敲、擊、鑿、磨或借用砂石、鞋底、釘頭等,極大地豐富了篆刻藝術(shù)的表現(xiàn)手法,并創(chuàng)造性地將篆刻藝術(shù)中刀石效果產(chǎn)生的金石味,上升到殘缺美的審美新境界。
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.
此畫為清代著名作家所畫,材質(zhì)為絹本,類似于綢緞。墨跡清晰,有滲透!題頭上方有朱砂章印,篆體字為“乾隆御覽之寶”,此章為鑒賞章,乾隆預覽,提拔過此畫。吳昌碩為晚清民國時期著名國畫家、書法家、篆刻家。而吳昌碩在右下方也提拔了。為此可以看出章法,題頭甚為講究。姑蘇繁榮圖描寫的是民清時期,江南水鄉(xiāng)的一個姑蘇夜景,畫里人物細節(jié)表達清晰,絹本畫,收藏價值極高!
吳昌碩中國畫壇上頗具影響力的大師。他的最大特點和優(yōu)點也就是通融和超越,吳昌碩不僅實現(xiàn)了讓繪畫體現(xiàn)野逸與高古之氣,還把中國畫推進到一個新的境界,對現(xiàn)代中國繪畫界產(chǎn)生了極其深遠的影響。他的作品歷史價值極高,此畫被他提拔蓋章,也就意味著吳昌碩收藏過此作品,非常認可,由此可看出這幅畫的價值所在!
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!
