瓷板畫的工藝歷史悠久，最早可追溯到秦漢時(shí)期，到了明中葉真正意義上的瓷板畫出現(xiàn)，清中期，隨著清代瓷藝的迅猛發(fā)展，當(dāng)時(shí)的瓷畫藝人致力于把紙絹上的中國畫移植到瓷器上，因此瓷板畫受到了人們的青睞，成為重要的商品瓷。瓷板畫越來越走向興盛。嵌瓷屏風(fēng)無論是圍屏、插屏還是掛屏，都經(jīng)常會見到上邊鑲嵌有裝飾意味濃厚的瓷板畫。景德鎮(zhèn)瓷板畫始于明清時(shí)期。民間曾把它鑲嵌在屏風(fēng)、柜門、床架等處用于裝飾。清朝中期的一些民間藝人，運(yùn)用中國畫中淺絳彩的繪畫方法進(jìn)行臨摹和創(chuàng)作，開創(chuàng)了瓷板畫的先河。
Porcelain plate painting has a long history, which can be traced back to the Qin and Han Dynasties at the earliest. In the mid-Ming Dynasty, the true meaning of the ceramic plate painting appeared. In the mid-Qing Dynasty, with the rapid development of the Qing Dynasty's ceramic art, the artists at that time devoted themselves to transplanting the Chinese paintings on paper and silk to the porcelain. Therefore, the ceramic plate painting was favored by people and became important. Commodity porcelain. Porcelain panel painting is becoming more and more prosperous. Whether it is enclosure screen, insert screen or hanging screen, we often see decorative ceramic plate paintings inlaid on the top. Jingdezhen porcelain plate painting began in the Ming and Qing Dynasties. It has been used for decoration in screens, cabinet doors, bedsteads and so on. In the mid-Qing Dynasty, some folk artists used the method of light crimson painting in Chinese paintings to copy and create, creating a pioneer of porcelain plate painting.
民國八駿嬉春圖瓷板畫
Porcelain Plate Painting of Bajun Xichun Picture in the Republic of China
重(W)：20kg 高/長(h)：68cm 寬(W)：1.3m
編號(NO.)：ZLFW(XQ)2019-868-0213
此民國八駿嬉春圖瓷板畫為民國畫家拙言先生創(chuàng)作，此人擅長瓷板畫，其作品流失在民間不多，他的畫作使人看起來有種身臨其境之感，仔細(xì)品味，便可以陶冶情操。此幅畫描繪的是在一棵壯實(shí)粗大的松樹下，在境界秀麗視野開闊的環(huán)境中，畫著色彩不同的八匹駿馬，飄逸靈動，神態(tài)各異造型逼真色彩外貌十分準(zhǔn)確生動無不栩栩如生。駿馬一塊嬉戲追逐.它們彼此熟悉,相見彼此用鼻子對聞,用頭親熱地磨擦,在一起吃草、嬉逐.。彌漫著清新溫暖的春光，給人自由浪漫的象征。造型準(zhǔn)確樸拙，線描柔和勻細(xì)，設(shè)色濃重沉厚，渲染富有質(zhì)感，為不可多得的珍品。
This Porcelain Plate Painting of Bajun Xichun in the Republic of China was created by Mr. Zhuoyan, a painter of the Republic of China. He is good at Porcelain Plate Painting. His works are not lost in the folk. His paintings make people feel immersed in the situation. If you carefully taste them, you can cultivate your sentiment. This painting depicts eight horses with different colors, elegant and vivid, with different shapes and lifelike colors, under a strong and thick pine tree and in an environment with beautiful realm and wide vision. Horses play and chase together. They know each other well. They sniff each other, rub their heads warmly, eat grass and play together. Spring is full of fresh and warm, giving people a symbol of freedom and romance. The model is accurate and simple, the line is soft and even, the color is heavy and thick, and the rendering is full of texture, which is a rare treasure.
龍馬精神是中華民族自古以來所崇尚的奮斗不止、自強(qiáng)不息的進(jìn)取、向上的民族精神。祖先們認(rèn)為，龍馬就是仁馬，它是黃河的精靈，是炎黃子孫的化身，代表了華夏民族的主體精神和最高道德。馬又是能力、圣賢、人才、有作為的象征。古人常常以“千里馬”來比擬。千里馬是日行千里的優(yōu)秀駿馬。此民國八駿嬉春圖瓷板畫既繼承了中國傳統(tǒng)繪畫的精華，又兼容了中國陶瓷藝術(shù)的優(yōu)點(diǎn)，是繪畫藝術(shù)和陶瓷藝術(shù)的完美結(jié)合，是中華民族無窮智慧的結(jié)晶，極具收藏價(jià)值。
Longma spirit is the national spirit that the Chinese nation has been advocating since ancient times. The ancestors believed that Longma is Renma, it is the spirit of the Yellow River, the incarnation of the descendants of Yanhuang, and represents the main spirit and the highest morality of the Chinese nation. Horse is also a symbol of ability, sage, talent and achievement. Ancient people often used the analogy of "Qianli Ma". Qianli horse is an excellent horse that travels thousands of miles every day. The painting of the eight Chun's spring painting not only inherits the essence of Chinese traditional painting, but also is compatible with the advantages of Chinese ceramic art, and is the perfect combination of painting art and ceramic art. It is the crystallization of the infinite wisdom of the Chinese nation and has great collection value.
民國八駿嬉春圖瓷板畫，作者拙言。此藏品拍一送一，送清末陳蓮舫御醫(yī)傳世醫(yī)書孤本。
Bajun Xichun Porcelain Plate Painting in the Republic of China, the author's humble remarks. This collection was sent to a solitary Medical Book handed down by Chen Lianquan in the late Qing Dynasty.
此御醫(yī)傳世醫(yī)書孤本，作者為我國近代著名的中醫(yī)學(xué)家陳蓮舫老先生。陳老生于1840年，卒于1914年，享年74歲。陳家世代業(yè)醫(yī),至蓮舫已第十九代。陳氏精通內(nèi)、外、婦、兒各科，光緒中葉懸壺于清浦珠溪鎮(zhèn)(今上海市朱家角鎮(zhèn))。因醫(yī)術(shù)高超，四方求治者甚眾。光緒年間，曾五次奉詔入京為皇帝和太后診病，療效頗佳，被封為御醫(yī)。老年辭官設(shè)診于上海，曾任上海廣仁堂醫(yī)務(wù)總裁及各善堂施診所懂事等職。因其醫(yī)術(shù)精湛、見解獨(dú)到而有“國手”之譽(yù)。同時(shí)，積極創(chuàng)辦“上海醫(yī)會”，舉辦中醫(yī)學(xué)校，對中醫(yī)教育事業(yè)作出卓越貢獻(xiàn)。陳氏繼承家學(xué)，勤于思考，博采民間單方驗(yàn)方，廣求明師，勇于推陳出新。他認(rèn)為治病當(dāng)“知古而不泥古，方是良醫(yī)。”他崇尚經(jīng)典，靈活運(yùn)用，不落窠臼，提倡“守經(jīng)尤貴達(dá)變”的治學(xué)方法。時(shí)至今日，對于學(xué)習(xí)中醫(yī)者仍不失有其積極的意義。
This is a solitary Medical Book handed down by the imperial doctor. The author is Mr. Chen Lianfeng, a famous Chinese medical scientist in modern China. Chen Lao was born in 1840 and died in 1914 at the age of 74. The Chen family has been practicing medicine for generations, and the nineteenth generation has come to Lianhuang. Chen is proficient in internal, external, gynecology and pediatrics. He hangs a pot in the middle of Guangxu in Zhuxi Town, Qingpu (Zhujiajiajiao Town, Shanghai today). Because of excellent medical skills, there are many people seeking treatment from all sides. During Guangxu's reign, he was ordered to visit Beijing five times for the emperor and the queen-in-law to diagnose the disease. The effect was quite good and he was appointed imperial doctor. The elderly resigned from office in Shanghai and served as president of Guangrentang Medical Center and director of Shantangshi Clinic in Shanghai. Because of its exquisite medical skills and unique insights, it is known as a "national hand". At the same time, the Shanghai Medical Association was actively established, and Chinese medicine schools were set up to make outstanding contributions to the cause of Chinese medicine education. Chen inherited his family studies, was diligent in thinking, learned folk prescriptions unilaterally, sought wise teachers widely, and dared to weed out the old and bring forth the new. He believed that treating diseases should be "a good doctor who knows the past but does not muddy it". He advocated classics, flexible use, not falling into a rut, and advocated the method of "abiding by the classics, you can change". Up to now, it is still of positive significance to the study of Chinese medicine.
更多資訊請關(guān)注微信公眾號：藏藝軒文化。
