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近日 本公司征集精品推荐:唐三彩一套、王大凡南海观音屏风

2020-03-21 11:46:48 长春都市网 点击:+ 评论:()
杩戞棩 鏈叕鍙稿緛闆嗙簿鍝佹帹鑽愶細鍞愪笁褰╀竴濂楋紙鍏釜鑸炲锛夈

近日 本公司征集精品推荐:唐三彩一套(八个舞娘)、王大凡南海观音屏风

【藏品名称】:唐三彩一套(八个舞娘)

[collection name]: A set of Tang Sancai (eight dancers)

【类别】:瓷器

Class: Porcelain

 

唐三彩(Tang Tri-Color Glazed Ceramics),中国古代陶瓷烧制工艺的珍品,全名唐代三彩釉陶器,是盛行于唐代的一种低温釉陶器,釉彩有黄、绿、白、褐、蓝、黑等色彩,而以黄、绿、白三色为主,所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳,亦有“洛阳唐三彩”之称。

Tang tri color glazed ceramics, a treasure of ancient Chinese ceramic firing process, is a kind of low-temperature glazed pottery popular in Tang Dynasty. The glaze color has yellow, green, white, brown, blue, black and other colors, while the yellow, green and white colors are the main colors, so people are used to call it "Tang Tri Color". It is also known as "Luoyang Tri Color of Tang Dynasty" because it was the earliest and most unearthed in Luoyang.

唐三彩是中国唐代的艺术精华,充分显示了盛唐时期的精神面貌和艺术水平,也是中国艺术品的精髓所在,具有独特的艺术风格和鲜明的民族特色。唐三彩是中国陶文化发展到高级阶段的产物,它所需原料和技术并不复杂昂贵,但达到的艺术效果和产生的文化价值之高,却与投入之低不成比例。唐代是中国封建社会的鼎盛时期,经济上繁荣兴盛,文化艺术上群芳争艳,三彩釉陶始于南北朝而盛于唐朝,它以造型生动逼真、色泽艳丽和富有生活气息而著称,因为常用三种基本色:黄、赭、绿,又在唐代形成特点,所以被后人称为“唐三彩”。

Tang Tri Color is the essence of China's Tang Dynasty, which fully displays the spiritual outlook and artistic level during the Tang Dynasty. It is also the quintessence of China's art, with unique artistic style and distinctive national characteristics. Tang Sancai is the product of the development of Chinese ceramic culture to the advanced stage. Its raw materials and technology are not complicated and expensive, but the high artistic effect and cultural value achieved are not in proportion to the low investment. Tang Dynasty is the heyday of China's feudal society. It is prosperous in economy, culture and art. Tricolor glazed pottery began in the southern and Northern Dynasties and flourished in Tang Dynasty. It is famous for its vivid shape, gorgeous color and rich flavor of life. Because it is commonly used in three basic colors: yellow, ochre and green, which also formed characteristics in Tang Dynasty, it is called "tricolor of Tang Dynasty".

唐三彩盛行于唐代,唐三彩是一种低温釉多彩陶器,最早出现在唐高宗时期,武则天至唐玄宗开元年间最为盛行。其中多以黄、褐红、翠绿为基本釉色,而以黄、绿、白三色为主调。三种釉色之间没有固定的界限,它们相互渗透,互相交融,形成你中有我、我中有它的错色、渗色现象,给人一种流畅、自然、清新的特殊美感。后来人们习惯地把这类陶器称为“唐三彩”。斑斓璀璨的唐三彩是中国古代最鼎盛时期唐代艺术的典型代表。唐三彩的是在民国初期,1905至1909年修筑陇海铁路期间,在洛阳北邙山一带因工程修建而毁损了一批唐代墓葬,施工者发现许多带彩釉的陶马、陶骆驼和陶俑,由于这些陶器上大多数带有黄、绿、白或黄、绿、褐三种颜色,于是人们就给了它们一个形象的名字——唐三彩。不过唐三彩命运多舛,在发现之初许多人认为是不吉利之器,大量的唐三彩在出土后被就地砸碎,以避邪气。后来,国外古董商发现了唐三彩的潜在价值,开始大量搜集,才逐步在国内受到重视,从此唐三彩声名鹊起,并在世界各地拍卖会上广受追捧,唐三彩在很长一段时期内成为最贵的中国艺术品。

The tri colored pottery of Tang Dynasty prevailed in Tang Dynasty. The tri colored pottery of Tang Dynasty is a kind of low-temperature glaze colorful pottery, which first appeared in the period of Emperor Gaozong of Tang Dynasty, and was most popular from Empress Wu to Emperor Xuanzong of Tang Dynasty. Among them, yellow, brown red and green are the basic glaze colors, while yellow, green and white are the main colors. There is no fixed boundary between the three kinds of glaze colors. They infiltrate and blend with each other, forming the phenomenon of color mismatch and color penetration, which gives people a smooth, natural and fresh special aesthetic feeling. Later, people used to call this kind of pottery "Tang Sancai". The colorful tri colored glazed pottery of Tang Dynasty is a typical representative of the art of Tang Dynasty in the most prosperous period of ancient China. In the early period of the Republic of China, during the construction of the Longhai railway from 1905 to 1909, a group of tombs of the Tang Dynasty were destroyed in the area of beimangshan mountain in Luoyang due to the construction of the project. The builders found many pottery horses, camels and terracotta figures with colored glaze. Because most of these pottery had three colors of yellow, green, white or yellow, green and brown, people gave them an image name—— Tri colored glazed pottery. At the beginning of its discovery, many people thought it was an unlucky tool. A large number of Tang Sancai were smashed on the spot to avoid evil spirits. Later, foreign antique dealers discovered the potential value of Tang Sancai and began to collect a large number of them, which gradually attracted attention in China. Since then, Tang Sancai has become famous and widely sought after in auctions around the world. Tang Sancai has become the most expensive Chinese art for a long time.

 

女俑色彩稳定沉着、疏淡自然,衣褶的线条既有雕塑的立体感,又有绘画的平面效果,流动的线条贯通衣裙,使女舞俑呈现出飘逸流畅的气势,如音乐一般富有节奏感,极具东方女性的神韵。雕塑家捕捉住了飞舞游移之中静止的一瞬间加以雕刻,达到了气韵生动的意境,以形写神,神形兼备,是研究唐代舞蹈艺术和服饰文化的重要资料。

The color of the female figurines is stable and calm, light and natural. The lines of the pleats have both the three-dimensional sense of sculpture and the plane effect of painting. The flowing lines run through the clothes and skirts, which makes the female figurines appear elegant and fluent. Like music, they are full of rhythm and Oriental female charm. The sculptor captured a moment of stillness in the dancing and moving to carve, and achieved a vivid artistic conception. It is an important material to study the dance art and dress culture of Tang Dynasty.

 

唐三彩作为传统的文化产品和工艺美术品,不仅在中国的陶瓷史上和美术史上有一定的地位,而且它在中外的文化交流上也起到了相当得要的作用。唐三彩早在唐初就输出国外,深受异国人民的喜爱。这种多色釉的陶器以它斑斓釉彩,鲜丽明亮的光泽,优美的造型著称于世,唐三彩是中国古代陶器中一颗璀璨的明珠。正因为唐三彩有如此的魅力,随着旅游业的进一步发展,国际、国内市场的开放,喜爱收藏唐三彩的人越来越多。

As a traditional cultural product and arts and crafts, tri colored glazed pottery of the Tang Dynasty not only has a certain position in the history of China's ceramics and art, but also plays an important role in the cultural exchange between China and foreign countries. As early as the beginning of Tang Dynasty, tri colored glazed pottery was exported to other countries, which was deeply loved by the people of other countries. This kind of polychrome glazed pottery is famous for its gorgeous glaze color, bright luster and beautiful shape. The tri colored pottery of Tang Dynasty is a bright pearl in ancient Chinese pottery. Because of its charm, with the further development of tourism and the opening of international and domestic markets, more and more people like to collect it.

作为中国艺术瑰宝,唐三彩马可以多方位地折射出唐文化的绚丽光彩,不仅为人们提供了认识中国唐文化历史价值的宝贵实物资料,而且也使得一批又一批中外藏家为它的艺术魅力所倾倒。唐三彩马具有巨大的投资保值潜能,因而长期受到国内外商家的关注,并稳坐中国陶瓷艺术品拍卖最高价的宝座。根据制作工艺的不同,唐三彩可以被分为新工艺唐三彩、高仿唐三彩和普仿唐三彩这三种类型。因为工艺上的不同以及本身手工劳动强度上的差异使得唐三彩价格上也是相去甚远。由于并非文物,一般来讲大部分的现代工艺所生产出来的唐三彩价格大都是在几十元和几百元之间。而唐三彩的文物拍卖以及其他现代工艺的唐三彩中不可多得的精品拍卖,只要没有流拍,一般都是拍出了上百万!

2005年9月20日在纽约佳士得拍卖会上,一件高58.3厘米的唐三彩仕女俑以595440元人民币成交;

2006年6月22日在中国嘉德拍卖会上,一件高49厘米的唐三彩马以440000元人民币成交;

2012年11月24日大唐国际的中国古董专场,一件高76厘米的唐三彩贴花棕釉大马4171050元人民币成交;

2013年09月17日纽约苏富比的中国瓷器及工艺品专场,一对分别高69.6厘米、67.9厘米的唐三彩陶马以25681443元人民币成交!

As a treasure of Chinese art, tricolor horse of Tang Dynasty can reflect the brilliant brilliance of Tang culture in many aspects. It not only provides people with valuable material materials to understand the historical value of Chinese Tang culture, but also makes a batch of Chinese and foreign collectors fall for its artistic charm. Because of its great potential of investment and maintenance, the tricolor horses of Tang Dynasty have attracted the attention of domestic and foreign merchants for a long time, and have been the highest price in China's ceramic art auction. According to the different production technology, three kinds of Tang Tri Color can be divided into three types: new technology, high imitation and general imitation. Because of the difference of craft and the difference of manual labor intensity, the price of tri colored glazed pottery in Tang Dynasty is also very different. Because it is not a cultural relic, generally speaking, most of the price of the tri colored glazed pottery produced by modern technology is between tens and hundreds of yuan. As long as there is no flow auction, there are usually millions of Tang Sancai cultural relics auction and other rare high-quality auction of modern technology!

On September 20, 2005, at Christie's auction in New York, a 58.3cm-tall terracotta figure of the Tang Dynasty was sold for 595440 yuan;

On June 22, 2006, a 49cm high tri colored horse of Tang Dynasty was sold at the Jiade auction in China for 440000 yuan;

On November 24, 2012, a 76 cm high brown glaze Damascus with three color decals of Tang Dynasty was sold at the Tang International Special Exhibition for Chinese antiques;

On September 17, 2013, a pair of Tang tricolor pottery horses, 69.6cm high and 67.9cm high respectively, were sold at Sotheby's China porcelain and Arts & Crafts Fair in New York for 25681443 yuan!

唐三彩诞生于唐代是有其文化渊源的。首先,成熟的陶瓷技术是唐三彩诞生的物质基础;其次,唐代盛极一时的厚葬之风是促成其诞生的直接导向;第三,唐代各个领域的历史文化是孕育其最好的艺术养料。唐三彩的诞生也是三彩釉装饰工艺的诞生,是釉彩装饰和胎体装饰结合的过程。辉煌璀璨的唐三彩,其绚丽斑斓的艺术效果在雕塑精美、造型生动的俑上得到了完美的发挥和淋漓尽致的展现。唐三彩作为陪葬冥器,在过去数百年里,一直为民间收藏者所忌讳。自上世纪80年代初由国外藏家关注后,唐三彩收藏在国内才逐渐兴起,尤其是唐三彩珍品在国际拍卖市场迭创新高后,国内艺术市场也出现了唐三彩收藏热,不少早年流出国外的唐三彩珍品也开始回流国内。唐代是中国古代鼎盛时期,经济上繁荣兴盛,文化艺术上群芳争艳,唐三彩就是这一时期产生的一种以黄、褐、绿为基本釉色的彩陶工艺品,它以造型生动逼真、色泽艳丽和富有生活气息而著称。

Tri colored glazed pottery was born in Tang Dynasty with its cultural origin. First of all, the mature ceramic technology is the material basis for the birth of the Tang Dynasty Sancai; second, the great popularity of the Tang Dynasty funeral custom is the direct guide to its birth; third, the history and culture in various fields of the Tang Dynasty is the best art nourishment for its birth. The birth of the three colors of the Tang Dynasty is also the birth of the three colors glaze decoration technology, which is the process of the combination of glaze decoration and carcass decoration. The brilliant tri colored pottery of the Tang Dynasty, with its gorgeous artistic effect, has been perfectly displayed and vividly displayed on the figurines with exquisite sculptures and vivid shapes. In the past hundreds of years, Sancai, as a funerary device, has been taboo to folk collectors. Since the beginning of 1980s, the collection of Tang Sancai began to rise in China, especially after the collection of Tang Sancai's treasures reached a new high in the international auction market, the domestic art market also witnessed the collection of Tang Sancai, and many of the Tang Sancai's treasures that flowed out of foreign countries in the early years began to flow back to China. Tang Dynasty is the heyday of ancient China. Its economy is prosperous, and its culture and art are full of splendor. Tri colored pottery in Tang Dynasty is a kind of colored pottery handicraft with yellow, brown and green as its basic glaze color. It is famous for its vivid shape, bright color and rich life atmosphere.

 

【藏品名称】:王大凡南海观音屏风

[collection name]: Guanyin screen in South China Sea

【类别】:杂项

Class: miscellaneous

 

王大凡:男(1888年—1961年),名堃,号希平居士,又号黟山樵子,斋名希平草庐,中国陶瓷美术大师。祖籍山西省太原市,祖上因避战乱,后移居安徽省黟县,其本人出生于江西省波阳县皇岗村。2011年1月22日,由景德镇市民间民俗文化协会、景德镇市民族民俗文化抢救与保护中心报江西省艺术工作委员会审核,提交中国陶瓷美术荣誉与职称颁证仪式酝酿,经得近百名中国陶瓷美术高级人才、大师、教授、新闻媒体代表意见,由正式代表举手表决,一致同意追忆其为“中国陶瓷美术大师”荣誉称号。

Wang Dafan: male (1888-1961), Mingkun, Xiping Ju Shi, yishanqiaozi, Zhai mingxiping Caolu, Chinese ceramic art master. His ancestral home is Taiyuan City, Shanxi Province. His ancestors moved to Fuxian County, Anhui Province because of avoiding war. He was born in Huanggang village, Boyang County, Jiangxi Province. On January 22, 2011, Jingdezhen folk custom culture association and Jingdezhen national folk custom culture rescue and Protection Center reported to Jiangxi Provincial Art Work Committee for review and submitted to the ceremony of awarding the honor and title of Chinese ceramic art for deliberation. After receiving the opinions of nearly 100 senior talents, masters, professors and representatives of news media of Chinese ceramic art, the official representatives raised their hands and unanimously agreed Recall its honorary title of "Chinese ceramic art master".

王大凡在浅降彩的基础上,独创了“落地粉彩”技法,很符合改革了浅降彩的设色,使浅降彩法画起画回生。王大凡在长达六十年绘画生涯中,兼工带写,构思严谨,用笔流畅,飘逸,其代表“布袋罗汉”,形态逼真,神情庄重慈祥,其动感飘逸,用笔如吴带当风,行云流水。把一个放下包袱何等自在逍遥的和尚刻画的惟妙惟肖,出神入化。

Wang Dafan created the technique of "ground pastel" on the basis of light falling color, which is very in line with the reform of the setting color of light falling color, making the light falling color painting come back to life. Wang Dafan has been working as a painter for 60 years. He has a rigorous conception, fluent and elegant brushwork. He represents the "bag arhat". He is lifelike in form, solemn and kind-hearted in expression, and dynamic and elegant. His brushwork is like Wu daidangfeng and flowing water. What a free and carefree monk who put down his burden portrays it vividly and vividly.

屏风,中国传统建筑物内部挡风用的一种家具,所谓“屏其风也”。屏风作为传统家具的重要组成部分,历史由来已久。屏风一般陈设于室内的显著位置,起到分隔、美化、挡风、协调等作用。它与古典家具相互辉映,相得益彰,浑然一体,成为中式家居装饰不可分割的整体,而呈现出一种和谐之美、宁静之美。

Screen, a kind of furniture used to block wind inside traditional Chinese buildings, is called "screen its wind". As an important part of traditional furniture, screen has a long history. The screen is generally displayed in a prominent position in the room, which plays a role of separation, beautification, wind protection and coordination. It and classical furniture reflect each other, complement each other, and become an integral part of Chinese style home decoration, showing a harmonious and peaceful beauty.

屏风在三千年前的周就以天子专用器具出现,作为名位和权力的象征。经过不断的演变,屏风作为防风、隔断、遮隐的用途,并且起到点缀环境和美化空间的功效,所以经久不衰流传至今,并衍生出多种表现形式。当今屏风主要分围屏、座屏、挂屏、桌屏等形式,其中大型屏风能展示出那种高贵的气势,是客厅、大厅、会议室、办公室的首选。它可以根据需要自由摆放移动,与室内环境相互辉映。以往屏风主要起分隔空间的作用,而更强调屏风装饰性的一面,既需要营造出“隔而不离”的效果,又强调其本身的艺术效果。它融实用性、欣赏性于一体,既有实用价值,又赋予屏风以新的美学内涵,绝对是极具中国传统特色的手工艺精品。

Three thousand years ago, the screen appeared in Zhou Dynasty as a special instrument for the emperor, as a symbol of fame and power. After continuous evolution, screen as a windbreak, partition, concealment, and play the role of embellishing the environment and beautifying the space, so it has been spread for a long time, and derived a variety of forms of expression. Today's screens are mainly divided into surround screen, seat screen, hanging screen, table screen and other forms. Among them, large screens can show that noble momentum, which is the first choice of living room, hall, meeting room and office. It can be placed and moved freely according to the needs, reflecting each other with the indoor environment. In the past, screen mainly played the role of separating space, and more emphasis was placed on the decorative side of screen, which not only needed to create the effect of "separation without separation", but also emphasized its own artistic effect. It combines practicality and appreciation. It not only has practical value, but also gives the screen a new aesthetic connotation. It is absolutely a fine handicraft with Chinese traditional characteristics.

南海观音:乘云中之龙,于南海波涛之上,又称龙头观音。相传中国南海一带瘟神作怪,疫疾虐行,民不聊生且民风愚劣,观音菩萨决心到南海弘扬佛法,发下“常居南海愿”。海龙王第五子狻猊主动化为鳌龙驮乘观音赴南海救苦救难,并随行护法,为一方百姓讲经说法、大化天下,使这里的百姓安居乐业,过上了太平、幸福的生活。从此,许多百姓都在家里塑了立于波涛之上的乘龙观音菩萨像供奉,既感激观音菩萨和龙五爷的法力庇护,又祈求无灾无难,吉祥平安。

Guanyin in the South China Sea: riding the dragon in the cloud, on the waves in the South China Sea, also known as the dragon head Guanyin. It is said that the God of plague in the South China Sea is acting strangely, the epidemic is rampant, the people are bored and the people are stupid. Avalokitesvara is determined to go to the South China Sea to promote Buddhism and make a "wish to live in the South China Sea". The fifth son of the king of Hailong, lion dragon, took the initiative to go to the South China Sea on Guanyin's back to save the people's lives. He accompanied the people to protect the Dharma, preached for one side of the people, and made the people live and work in peace and happiness. Since then, many people have made dragon riding Avalokitesvara statue standing on the waves at home to worship. They not only appreciate the magic protection of Avalokitesvara and dragon five gods, but also pray for disaster free, auspicious and safe.

 

有的佛经说,观音本是古代天竺国(今印度)“转轮王”的大王子,善男身。那人们理想中的观音菩萨就应当是母亲、女性!年轻的母亲比年老的母亲当然更美、更可亲、更可爱、更理想!所以后来的观音菩萨就以女神的化身出现了。早期观音像带有西域人的风姿,长眉、深目、高鼻、裸露上身。北魏时的观音面容娟秀,隋唐时的观音浓丽丰满。宋代的观音丹凤眼、眉入鬓、玉面天生喜,朱唇一点红,潇洒飘逸,风度翩翩。元、明、清各代的观音菩萨没有形成突出的特点。佛像风格的变化也是时代审美水平的变化。观音信仰超越了佛教的范围而具有了民俗文化的色彩。

Some Buddhist scriptures say that Guanyin was originally the great prince of "the wheel king" in ancient India (now India), and he was a good man. The ideal Guanyin Bodhisattva should be a mother and a woman! The young mother is certainly more beautiful, more amiable, more lovely and more ideal than the old mother! So later, Avalokitesvara appeared as a goddess. The early Guanyin statues have the style of western people, with long eyebrows, deep eyes, high nose and bare upper body. Guanyin faces in the Northern Wei Dynasty are beautiful, while those in the Sui and Tang Dynasties are rich. In the Song Dynasty, Guanyin's red eyes, eyebrows and jade face were naturally happy, and its red lips were a little red, elegant and elegant. The Guanyin Bodhisattvas of yuan, Ming and Qing Dynasties did not form prominent characteristics. The change of the style of Buddha is also the change of the aesthetic level of the times. Guanyin belief goes beyond the scope of Buddhism and has the color of folk culture.

 

王大凡早年的人物画多是富贵寿考、伏虎罗汉、八仙图等,晚年的人物画以木兰从军、闻鸡起舞、岳母刺字等内容为多,注重作品的时代性。模仿品以其20世纪30、40年代的人物画为多,也有少量50、60年代的作品。从王氏人物画笔墨特点来看,主要有以下几个特色:

一是用笔用线遒劲,似传统线描法中的高古游丝描、铁线描一类,多是中锋用笔,朴拙、厚实、圆润,章法别致,有装饰味,这是王大凡与王琦侧锋用笔画人物画的最大区别。而模仿品勾线难学其骨,少圆润劲拔之韵味,有的中、侧锋并用,不得要领。

二是人物脸部刻画细腻,讲究明暗变化,有西画中的素描关系和光影变化,晕染手法独特,立体感强。王氏画仕女以“丹凤眼”、“樱桃嘴”冠之,特点鲜明,并形成一种惯用的程式。

三是人物画背景多勾描葱郁林木,竹石茅屋,野卉山花,染色青翠,草绿、翠绿、深绿几个层次明显,笔法一丝不苟。 从王氏作品设色来看:一是画面绚丽照人,光彩艳发,画场面大、人物多的作品,总是根据主题需要,主角多用鲜艳夺目的色料(如胭脂红、西赤等),次要人物一般以赭、黄、蓝色陪衬;二是填色较厚实,人物画在双勾白描稿的基础上,多用浓重、深沉、艳丽的色彩,作多层次的渲染,注重明暗层次和冷暖变化,有传统工笔重彩的艺术效果。模仿品设色染色平板,厚重之中少阴阳层次变化,色调过渡生硬,少润泽之感。

另外,王大凡研究出“落地粉彩”画法,不用玻璃白填底色,直接将色料填绘在瓷胎上,再罩雪白、水绿之类料色,简化工艺,画意更浓。

In his early years, Wang Dafan's figure paintings were mostly the pictures of wealth, longevity, Fuhu, Luohan, and eight immortals. In his later years, the figure paintings were mainly about Mulan joining the army, listening to the chickens and dancing, mother-in-law stabbing words, etc., which emphasized the times of his works. Most of the imitations are the figure paintings of 1930s and 1940s, and there are also a few works of 1950s and 1960s. According to the characteristics of Wang's painting brush and ink, it mainly has the following characteristics:

The first is to use a strong line with a pen, which is similar to the high ancient silk and iron line drawing in the traditional line drawing method. Most of them are used by the center. They are simple, thick, mellow, unique and decorative. This is the biggest difference between Wang Dafan and Wang Qi. However, it's hard to learn from the imitations by drawing lines. There's less round and vigorous charm. Some of them are used in combination with the middle and side fronts, which is not essential.

Second, the face of the characters is characterized by delicate depiction, focusing on the change of light and shade. There are sketch relations and light and shadow changes in western paintings. The halo dye technique is unique and has a strong three-dimensional sense. Wang's painting ladies are crowned with "danfengyan" and "cherry mouth", which have distinctive characteristics and form a customary formula.

The third is that the background of the figure painting mostly depicts the lush trees, the bamboo and stone thatched houses, the wild flowers, the dyed green, the grass green, the emerald green and the dark green, with meticulous brushwork. From the perspective of Wang's works' color setting: first, the works with gorgeous pictures, brilliant hair, large scenes and many figures are always painted according to the needs of the theme. The protagonists usually use bright color materials (such as carmine, Xichi, etc.), and the secondary figures are usually set off with ochre, yellow and blue; second, the color filling is thick, and the figure paintings use thick, deep and gorgeous colors on the basis of double hook white drawing Color, for multi-level rendering, pay attention to the level of light and shade and warm and cold changes, there is a traditional meticulous heavy color artistic effect. The imitators are set with color and dyeing plates, which are thick with less changes of yin and Yang levels, and the tone transition is rigid with less sense of moistening.

In addition, Wang Dafan developed the painting method of "ground-based pastel", instead of using glass white to fill the background color, he directly filled the color material on the porcelain body, and then covered it with material colors such as snow-white and water green, simplifying the process and making the painting more meaningful.

 

丰富艺术生活,传递艺术价值!如果您对此感兴趣,欢迎联系庭杰网络服务有限公司!

Enrich art life and transfer art value! If you are interested in this , please contact Tingjie Network Service Co., Ltd!

 

分享是一种美德,分享是一种快乐,学会分享,快乐他人!

Sharing is a virtue, sharing is a joy, learn to share, happy others!

 

 

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