金城（1878～1926年），中國(guó)近現(xiàn)代畫家。字鞏北，一字拱北，原名紹城，號(hào)北樓、又號(hào)藕湖，祖籍浙江省吳興縣。生于北京，1926年9月6日卒于上海。著城有《藕廬詩草》、《北樓論畫》、《畫學(xué)講義》。金城出身書香門第，自幼天性喜愛繪畫，山水花鳥皆能，兼工篆隸鐫刻，旁及古文辭。因沒有老師傳教，就在家里臨摹家藏古代名人畫跡，到后來所臨字畫幾可亂真 。
Lanzhou(1878-1926) , modern Chinese painter. Gong north, a Word Gongbei, the original name Shaocheng, no. North Tower, also no. Lotus Lake, ancestral home in Wuxing County, Zhejiang Province. Born in Beijing, died in Shanghai on September 6,1926. The city has "Lotus Root Lu poetry grass" , "north tower on painting" , "painting lectures. Jincheng born scholar family, since childhood love painting, landscape flowers and birds can be, and work scribe engraved, beside and ancient words. Because there is no teacher missionary, on the home copy of the family collection of ancient paintings of celebrities, to the subsequent copy of calligraphy and painting can be true.
由于金城對(duì)于傳統(tǒng)繪畫的愛好，展覽期間，日攜筆研坐，刻苦鉆研，并不斷地臨摹古代佳作珍品。金城初學(xué)戴熙的精細(xì)筆法，后接近陸廉夫畫風(fēng)。他的山水、花鳥、人物都有古意。金城竭力提倡保存國(guó)粹，臨摹畫稿，一筆不茍。金城的作品大都仿古、師古，在古人的意境中徘徊。晚年有些寫生之作，比之前期的臨摹作品，顯得富有生氣
As a result of Lanzhou's love of traditional painting, during the exhibition, day to take pen, study hard, and constantly copy the treasures of ancient masterpieces. Lanzhou First Learned Dai Xi's fine brushwork, then approached the style of Lu Lianfu. His landscape, flowers and birds, characters have ancient meaning. Lanzhou was a strong advocate of preserving the national essence, copying the work with meticulous care. Most of Lanzhou's works are archaized and archaized, lingering in the artistic conception of the ancients. In his later years, some of his sketches were more lively than his earlier copies
他的繪畫發(fā)展，大體可以分為三個(gè)時(shí)期：28歲以前，他的創(chuàng)作以古人為師，臨摹為主，大量臨習(xí)了宗元、吳惲、四王等人的精品之作，為以后的繪畫創(chuàng)作，打下了堅(jiān)實(shí)的基礎(chǔ)。29歲-45歲這個(gè)時(shí)期，他的作品仍然以臨摹古人為主，兼有創(chuàng)作。46歲以后，金城先生進(jìn)入了他的創(chuàng)作藝術(shù)的高峰時(shí)期，作品數(shù)量大增。
His painting development can be roughly divided into three periods: before the age of 28, his creation to the ancients as a teacher, mainly copying, a large number of copying Munemoto, Yun, Four Wangs and other fine works, for the future painting creation, laid a solid foundation. Between the ages of 29 and 45, he continued to copy the ancients and create his works. After the age of 46, Mr. Lanzhou entered the peak of his artistic creation, the number of works greatly increased.
此件藏品，寬：37cm，長(zhǎng)：98.5cm。從紙張老久程度分析藏品為清末熟宣材質(zhì)，古法宣紙做法精良，以至百年有余而紙張不破不損。整幅作品筆法老練細(xì)膩，飛禽羽毛細(xì)致入微，形象生動(dòng)栩栩如生。映入眼簾，呼之欲出。花草竹石，下筆有神，仿若忽如一夜春風(fēng)來，千樹萬樹梨花開之意！加之落款，可推斷此幅作品應(yīng)是春末夏初之景。布局講究有序，留白位置，供人遐想無限。正符合，一代書畫巨擘啟功所提出黃金比例分割線美術(shù)理論之說。近大遠(yuǎn)小透視現(xiàn)象亦運(yùn)用爐火純青。綜合來看，應(yīng)為其精品之作，具有較好的投資及收藏價(jià)值！
The collection is 37cm wide and 98.5 cm long. From the Paper Age analysis of the collection for the late Qing dynasty cooked Xuan material, the ancient method of Xuan paper good practice, so that more than a hundred years and paper undamaged. The brushwork is sophisticated and delicate, and the bird feathers are exquisite and vivid. It comes into view and it wants to come out. Flowers and flowers, bamboo and stone, writing God, if suddenly like a night to spring breeze, thousands of trees pear blossom meaning! In addition to the inscription, we can infer that this piece of work should be late spring and early summer scene. Layout pay attention to order, white space, for people reverie infinite. Exactly, a generation of calligraphy and painting giant qigong proposed the golden proportion of the division line of the theory of art. Near far small perspective phenomenon is also used to perfect. Taken together, it should be a fine piece of work with good investment and collection value!
