Museum Of Taiwan 台灣藝術美術博物館台湾艺术美术博物馆: April 2012

Museum Of Taiwan

台灣藝術美術博物館
台湾艺术美术博物馆

Taiwan Web Museum

A Free Exhibition Museum in the Internet World

台灣網路藝術美術博物館
網路世界裡的免費博物館

台湾网络艺术美术博物馆
网络世界里的免费博物馆

The Ten Elder Men in the Legend of China, by Qi Baishi dated 1949.
H 94 x W 177 cm
齊白石1949年作 "十全老人神賢圖" 橫幅設色紙本鏡片

Recalling the Beautiful Scenery of Mountain Huang in China, by Zhang Daqian dated 1979.
H 92 x W 172 cm
張大千1979年作 "遙思黃山故景潑彩山水圖" 橫幅設色紙本鏡片

The Dwellings by the River and Mountain in Southern China, by Wu Guanzhong dated 1992.
H 94 x W 177 cm
吳冠中1992年作 "江南民居風景圖" 橫幅設色紙本鏡片

China,the Wounded Lion,Sat Watching American Flying Tiger, by Xu Beihong dated 1942.
H 91 x W 170 cm
徐悲鴻1942年作 "中國負傷之獅遙望美國飛虎飛將軍" 橫幅設色紙本鏡片

Taiwan Web Museum
A Free Exhibition Museum in the Internet World

台灣網路藝術美術博物館
網路世界裡的免費博物館

台湾网络艺术美术博物馆
网络世界里的免费博物馆

Free Website to See Paintings by Chinese Artists Listed in 2011 World Auction Revenue Top 30 and Rare Archaic Chinese Ancient Antiques

觀賞2011年列名世界拍賣總收入前30名中國畫家名畫作品及中國古代罕見的古董之免費網址

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千齊白石 Qi Baishi 齐白石徐悲鴻 Xu Beihong 徐悲鸿吳冠中Ｗu Guanzhong 吴冠中傅抱石 Fu Baoshi 傅抱石李可染 Li Keran 李可染陸儼少 Lu Yanshao 陆俨少黃冑 Huang Zhou 黃冑黃賓虹 Huang Binhong 黄宾虹吳昌碩 Wu Changshuo 吴昌硕林風眠 Lin Fengmian 林风眠吳湖帆 Wu Hufan 吴湖帆

謝稚柳 Xie Zhiliu 谢稚柳唐寅 Tang Yin 唐寅溥儒 Pu Ru 愛新覺羅溥儒 Pu Xinyu 溥心畬愛新覺羅溥佐 Aisin Gioro Pu Zuo 趙少昂 Zhao Shao’Ang 赵少昂關山月 Guan Shanyue 关山月西施貂蟬楊貴妃王昭君中國古代四大美女圖 Xi Shi Diao Chan Yang Guifei Wang Zhaojun Top Four Famous Great Beauties of Ancient China in the History

Works of Art 藝術品:

Jade Carved Sword Token of Imperial Authority 3 thousand years ago
三千年前的玉刻玉劍令牌
Bronze Guanyin Bodhisattva Figure 3 thousand years ago
三千年前的青銅觀音菩薩造像
Jade Carved Persian Face Elephant Puzzle 2 thousand years ago
二千年前的玉刻波斯人面大象紋益智拼圖
Jade Carved Fish Wine-Cup 3 thousand years ago
三千年前的玉刻魚形酒杯
Bronze Money-Shaking Fortune Tree
青銅搖錢樹
Jade Carved Winged Mythical Beast 6 thousand years ago
六千年前的玉刻豬鳥翼形龍
White-Jadelike Porcelain Lady Figure
白釉白玉瓷胎仕女人物
Jade Carved Military Token of Imperial Authority 3 hundred years ago
三百年前的玉刻軍事玉令牌
Great Tang Zhenguan Dancing Horses and Flowers Gold Bowl 13 hundred years ago
一千三百年前的中國唐朝皇帝用大唐貞觀刻花舞馬紋赤金金碗
Great Tang Zhenguan Phoenix Gold Plate 13 hundred years ago
一千三百年前的中國唐朝皇后用大唐貞觀刻花鳳紋赤金金盤
Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Linking Clouds Royal Dragon Pendant Western Han Dynasty China 2 thousand years ago
二千年前的中國西漢朝時期古羊脂白玉透空圓雕漢朝皇室用勾連雲紋龍形珮
Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Linking Clouds Emperor's Extremely Good Auspices Presented by Dragon and Phoenix Pendant Western Han Dynasty China 2 thousand years ago
二千年前的中國西漢朝時期高古羊脂白玉透雕漢朝皇帝用勾連雲紋龍鳳呈祥珮

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http://art-3000.com/artist/orionandhsu/

參考文字 Reference Words :

張大千 Zhang Daqian 张大千齊白石 Qi Baishi 齐白石徐悲鴻 Xu Beihong 徐悲鸿吳冠中Ｗu Guanzhong 吴冠中傅抱石 Fu Baoshi 傅抱石李可染 Li Keran 李可染陸儼少 Lu Yanshao 陆俨少黃冑 Huang Zhou 黃冑趙無極 Zao Wou-ki 赵无极黃賓虹 Huang Binhong 黄宾虹吳昌碩 Wu Changshuo 吴昌硕林風眠 Lin Fengmian 林风眠曾梵志 Zeng Fanzhi 曾梵志范曾 Fan Zeng 范曾王蒙 Wang Meng 王蒙吳湖帆 Wu Hufan 吴湖帆王翬 Wang Hui 王翚謝稚柳 Xie Zhiliu 谢稚柳 Tang Yin 唐寅 Pu Ru 愛新覺羅溥儒 Pu Xinyu 溥心畬愛新覺羅溥佐 Aisin Gioro Pu Zuo 趙少昂 Zhao Shao’Ang 赵少昂關山月 Guan Shanyue 关山月 Xi Shi Diao Chan Yang Guifei Wang Zhaojun Top Beauties Ancient Modern history 西施貂蟬楊貴妃王昭君古代美女 taiwanwebmuseum blogspot orionwebmuseum com orionandhsu orion hsu 台灣 Taiwan 台湾 Web 博物館 Museum 博物馆免費 Free 免费展覽 Exhibition 展览網路 Internet 互联网世界 World 世界網站 Site 网站中國 China 中国藝術家 Artist 艺术家藝術 Art 艺术畫家 Painter 画家拍賣 Auction 拍卖 Revenue 收入 2011 Rank List 列名總收益总收益畫家 Painter 画家名畫 famous painting 名画 work 作品 address 网址 http Andy Warhol 安迪沃霍尔美金 Pablo Picasso 巴勃罗毕加索星雲佛 Buddhist Master Qatar Antique 古董來源真關鍵台北卡達香港 Hong Kong 北京 Beijing 倫敦 London 佳士得蘇富比保利 Photo Dealer Gallery Sale Investment Beauty US UK USD Treasure Fortune Money Asian Culture Chinese Job Taipei Picasa Google Yahoo FB Facebook Flickr Twitter Wikipedia News TV Album Gmail Christie Sotheby Bonham Heritage Artprice Poly Image Actress Model Newspaper Information People Magazine Movie Star Hollywood Hot Top Pretty Sports Beautiful Pop Apple Jade Jewelry Picture Photograph New Agent Nice Shop Mail UK USA Oil Sculpture Girl Superb Rare Service Sell Catalog Ceramic Archaic Link Map View Feature Account Copy Print Auctioneer House Center Exposition Best Post Calligraphy Finance Financial Bank Spring Summer Fair Show Year Lady Furniture Tang Sung Yuan Ming Qing Shang Bronze Stone Face Good Funds Foundation Gates Fund Owner CEO Founder President Prime Minister Corp Company King Arab Prince Dubai Abu Dhabi UAE Official Carved Porcelain Archaic Xing Yun Mt. Fo Guang University Origin Authenticity Abstract Sculpture Dynasty Year Tag
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World Top 15 highest-selling artists in 2011
2011年列名世界拍賣收入記錄前15名的畫家

#1 Zhang Daqian 张大千 US$554.53 million
#2 Qi Baishi 齐白石 US$510.57 million
#3 Andy Warhol 安迪•沃霍尔 US$325.88 million
#4 Pablo Picasso 巴勃罗•毕加索 US$314.69 million
#5 Xu Beihong 徐悲鸿 US$233.48 million
#6 Wu Guanzhong 吴冠中 US$221.15 million
#7 Fu Baoshi 傅抱石 US$198.33 million
#8 Gerhard Richter 格哈德•里希特 US$175.67 million
#9 Francis Bacon 弗朗西斯•培根 US$129.20 million
#10 Li Keran 李可染 US$115.36 million
#11 Lu Yanshao 陆俨少 US$105.68 million
#12 Clyfford E. Still 克莱福特•斯蒂尔 US$101.55 million
#13 Huang Zhou 黄胄 US$98.95 million
#14 Zao Wou-ki 赵无极 US$91.91 million
#15 Huang Binhong 黄宾虹 US$91.79 million

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Chinese artists listed in the 2011 world auction revenue top 30 record have been published.
2011年列名世界拍賣總收入記錄前30名的中國畫家名單已公佈

No. 1 第1名為張大千 Zhang Daqian (1899-1983) 张大千,
No. 2 第2名為齊白石 Qi Baishi (1864-1957) 齐白石,
No. 5 第5名為徐悲鴻 Xu Beihong (1895-1953) 徐悲鸿,
No. 6 第6名為吳冠中Ｗu Guanzhong (1919-2010) 吴冠中,
No. 7 第7名為傅抱石 Fu Baoshi (1904-1965) 傅抱石,
No. 10 第10名為李可染 Li Keran (1907-1989) 李可染,
No. 11 第11名為陸儼少 Lu Yanshao (1909-1993) 陆俨少,
No. 13 第13名為黃冑 Huang Zhou (1925-1997) 黄胄,
No. 14 第14名為趙無極 Zao Wou-ki (1921) 趙無極,
No. 15 第15名為黃賓虹 Huang Binhong (1865-1955) 黄宾虹,
No. 18 第18名為吳昌碩 Wu Changshuo (1844-1927) 吴昌硕,
No. 22 第22名為林風眠 Lin Fengmian (1900-1991) 林风眠,
No. 24 第24名為曾梵志 Zeng Fanzhi (1964) 曾梵志,
No. 25 第25名為范曾 Fan Zeng (1938) 范曾,
No. 26 第26名為王蒙 Wang Meng (1308-1385) 王蒙,
No. 29 第29名為吳湖帆 Wu Hufan (1894-1968) 吴湖帆.
No. 30 第30名為王翬 Wang Hui (1632-1717) 王翚.

Total 合計: 17 名中國畫家 17 Chinese Artists in total.

Source: Art Market Trends 2011 Top 100 Auction Results in 2011 Page 30 by Artprice.com S.A.

資料來源: 法國 Artprice.com S.A. 2011年全世界藝術市場趨勢報告書第30頁2011年全世界拍賣總收入結果前100名畫家
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For more details and descriptions of the renowned Chinese paintings and antiques, please click the following linking sites:

如欲得知著名中國名畫及古董的詳細資料與描述內容, 敬請點擊下列各連結網址:

Part One (第一部分): Paintings 書畫

http://web.artprice.com/classifieds/fineart/list?classified[idclassifiedauctionmode]=1&classified[idclassifiedclass]=1&from=classifieds&idcurrencyzone=2&l=en&order=price_sorted_eur&ordertype=desc&page=1&search_label=&searchterm=Enter+a+key+word+%28work+title%2C+artist+or+gallery+name...%29

Part Two (第二部分): Paintings 書畫

http://web.artprice.com/classifieds/fineart/list?classified[idclassifiedauctionmode]=1&classified[idclassifiedclass]=1&from=classifieds&idcurrencyzone=2&l=en&order=price_sorted_eur&ordertype=desc&page=2&search_label=&searchterm=Enter+a+key+word+%28work+title%2C+artist+or+gallery+name...%29

Part Three (第三部分): Antiques 古董

http://web.artprice.com/classifieds/decorative/list?classified[idclassifiedauctionmode]=1&classified[idclassifiedclass]=2&from=classifieds&idcurrencyzone=2&l=en&order=price_sorted_eur&ordertype=desc&page=1&search_label=&searchterm=Enter+a+key+word+%28work+title%2C+artist+or+gallery+name...%29

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The paintings of Chinese artist Tang Yin 唐寅 (the world auction revenue top #55 in 2011).
2011年列名世界拍賣收入記錄第55名的中國畫家唐寅 (Tang Yin 唐寅)的名畫作品.

Archaic Paintings of Top 4 Famous Beauties of Ancient China in the history by Tang Yin (Tang Bohu 1470 - 1523 Ming Dynasty).
唐寅 (唐伯虎 1470 - 1523 明代畫家) 精心繪製之中國古代歷史上有名之四大美女古畫
Xi Shi, Diao Chan, Yang Guifei, Wang Zhaojun. (Top 4 Famous Beauties of Ancient China in the history)
西施, 貂蟬, 楊貴妃, 王昭君. (中國古代四大美女圖)
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中國古代歷史上四大美女之一 "西施 Shi Shy"
One of Top 4 Famous Beauties of Ancient China in the History
"Queen Shi Shy" was a very famous "Spy-Beauty" sent by the revenging King Yueh Wang Gou Jiann, in order to attract his main military enemy King Wu Wang Fu Chai in year 494 B.C. during the Eastern Zhou Warring-States-Period China. The King Wu Wang Fu Chai was then naturally being always attracted by her infinite beauty and became too busy enjoying with her as to ignore the national military constant constructional duties. She faithfully completed her spy-works beside the King of her enemy nation for the country she had devoted to. In year 476 B.C., The King Wu Wang Fu Chai was eventually killed by the King Yueh Wang Gou Jiann, in a state of exhaustion after 3 years' longtime continuous nation-surrounded-by-troops-type fightings.
西施是由欲復仇的越王勾踐所選派的一位非常有名的 "美女間諜", 以便在西元前494年中國東周戰國時期送往他的主要軍事敵國吳國迷惑吳王夫差. 吳王夫差自然為其無窮的美麗所迷惑而忙於與她享樂, 終致不理會國家的經常性軍事建設. 她為自己所奉獻的祖國忠誠地完成在敵國吳王夫差旁的間諜任務. 最後在西元前476年, 吳王夫差遭越軍於連續圍城三年後自殺而死, 吳國因戰敗而滅亡.
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中國古代歷史上四大美女之一 "貂蟬 Diau Charn"
One of Top 4 Famous Beauties of Ancient China in the History
"Diau Charn" was the adopted daughter of the high ranking Official (Sy Twu) Wang Yeun in the end of Eastern Han China (Year 189 - 196). At that time the Generalissimo Doong Jwo controlled the government by military force. The Emperor Han Shiann Dih had lost his power to the Generalissimo. Leu Buh was the chief general and the adopted son of the Generalissimo Doong Jwo. Then the Official (Sy Twu) Wang Yeun planned out a "coup with coup" strategy to assassinate the Generalissimo Doong Jwo. He first granted the beautiful daughter "Diau Charn" to be the wife of Leu Buh who was the son of the Generalissimo Doong Jwo. Once Leu Buh had fallen in love with Diau Charn's beauty, then he purposely presented the beautiful daughter Diau Charn to be the concubine-wife of the Generalissimo Doong Jwo. This caused the jealous son Leu Buh stabbed his own father i.e. the Generalissimo Doong Jwo to death after a quarrel between father and son for the same pretty young love "Diau Charn" at home.
貂蟬是西元189年至196年之東漢末年高官司徒王允的義女. 當時東漢王朝之中央大權為大將軍董卓的軍事力量所控制, 漢獻帝已經失權於大將軍董卓. 呂布為大將軍董卓的義子與大將. 司徒王允便設下連環計以刺殺大將軍董卓, 他先把貂蟬許配給呂布, 等呂布愛上貂蟬後, 再將貂蟬獻給大將軍董卓. 此舉導至妒忌的呂布在家中為了同一個年輕愛人貂蟬而與義父董卓激烈爭吵後, 一刀刺死了大將軍董卓.
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中國古代歷史上四大美女之一 "楊貴妃 Yang Guifei"
One of Top 4 Famous Beauties of Ancient China in the History
"Queen Yang Guifei" (719 - 756) was nominated as the Concubine Queen of Emperor Tang Shyuanzhong in year 745 of Tang Dynasty. She was so beautiful that she was always making the Emperor to ignore the country duty. Thus in year 756, the army garrison troops forced the Emperor to kill her, otherwise they should all rebel against the Emperor. Then the Emperor had to kill her with a rope in front of troops by his own order without any choice.
楊貴妃 (楊玉環) 於西元745年為中國唐朝皇帝唐玄宗冊封為"貴妃".
她是如此美麗, 常使唐玄宗不理國事. 因此, 在西元756年皇帝禁軍將士發生兵變, 請殺貴妃, 唐玄宗不得不縊殺之, 以阻兵變.
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中國古代歷史上四大美女之一 "王昭君 Wang Jaujiun"
One of Top 4 Famous Beauties of Ancient China in the History
"Wang Jaujiun" was a civil beauty. She was selected as a to-be-queen into the Imperial Palace in 38 B.C. by the Emperor Han Yuan Dih of Han Dynasty. But she was so confident of her own beauty, thus she refused to bribe the Palace painter Mau Yanshow as other beauties had all done. Then the Palace painter Mau unhappily painted her out to be an ugly girl as her portrait and presented it to the Emperor who hadn't yet seen her. Meantime Western Mongolian King asked to marry a princess from the Han Dynasty for peace. So the Emperor jokingly nominated this "ugly girl on the painting" to be the princess for this peace marriage. At that very day of this marriage, once the Mongolian King saw the beauty, he was so happy as to swear not to invade China. But the frustrated Emperor had to cut off that Palace painter Mau's head. The descendants of Wang Jaujiun with the Mongolian King hundreds of years later conquered the Eastern Europe, built up a Hungarian Empire (Hungary, Serbia,...etc), fought against and finally caused the collapse of Roman Empire in the history.
王昭君是個平民美女. 於西元前38年為中國漢朝漢元帝選入宮中. 但王昭君對於自己的美麗充滿信心, 不願意像其他宮女般去賄賂宮中畫匠毛延壽. 不高興的毛延壽便將她的肖像畫成一位醜女並獻給未曾看過她的漢元帝觀賞. 此時匈奴王欲娶漢朝公主和親, 漢元帝便開玩笑似地將畫中醜女充作漢朝公主嫁給匈奴王. 結婚當日, 匈奴王一見新娘如此美麗, 便發誓不再侵犯中原. 充滿挫折感的漢元帝便將宮中畫匠毛延壽砍頭治罪. 王昭君與匈奴王的後裔於數百年後征服了東歐, 在歷史上建立了匈奴帝國(匈牙利, 賽爾維亞,...等地), 與羅馬帝國對戰, 並造成羅馬帝國的垮台.
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The beloved fighting cricket mummy of China Emperor Qianlong 1711 - 1799.
西元 1711 年至 1799 年中國乾隆皇帝所最愛的鬥蟋蟀乾木乃伊.
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Summary of Catalog 目錄摘要
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Paintings 書畫作品
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One Flower in One World White Lotus and attached calligraphy
by Zhang Daqian dated Mar.1978.
張大千1978年3月作 "一花一世界白荷花圖及書法立軸" 橫幅設色紙本鏡片
Ink on paper, mounted,signed SHU JUN JIN SHI NAN ZHANG DAQIAN YUAN,inscribed and titled ONE FLOWER IN ONE WORLD AND THREE COMPREHENSIONS OUT OF THREE INSIGNIFICANCIES,MAR.1978,dedicated BUDDHIST MASTER XING YUN AS WITNESS,with 5 seals of the artist.
Calligraphy: ink on paper, mounted,hanging scroll, signed SHU JUN JIN SHI NAN ZHANG DAQIAN YUAN, inscribed and titled AMAZING TALENT AND EXTREME BEAUTY, dedicated BUDDHIST MASTER XING YUN AS WITNESS, with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
The handwritings and signatures of Zhang Daqian in this combination are the same as those 29 words in her sister painting(H94xW212.5cm,Feb.2,1978,sold twice USD3.86millions in total by Buddist Master Xing Yun in Feb.27,1994 at the Auction for Fund of Buddhist University.)by Zhang Daqian.
Painting: H89 x W173 cm, Calligraphy: H96 x W47.5 cm.
This dedication of painting by Zhang Daqian to Buddhist Master Xing Yun in Mar.1978 was also recorded in Buddhist Master Xing Yun's personal Diary,the Buddhist Textbook Lesson 20,Volume 11"The Memorabile of Buddhist Mt.Fo Guang"of Buddhist University,and the"The Memorabile of Founder Master Xing Yun of Buddhist Mt.Fo Guang".
The sale revenue of this bid will be distrbuted by seller as 25% donated to Buddhist University, 25% to Buddhist Art Museum, both founded by Buddist Master Xing Yun, and 50% to fund of a private Museum to be set up by seller.
張大千1978年3月作 "一花一世界白荷花圖及書法立軸"
題識:一花一世界,三藐三菩提.六十七年三月,星雲大德印正. 蜀郡近事男張大千爰.
五鈐印:西川張爰,金石同壽,摩耶精舍,大風堂,得心應手.
書法題識:驚才絕豔,星雲大德印正. 蜀郡近事男張大千爰.
二鈐印:西川張爰,金石同壽.
佛光山開山宗長星雲大師於其所著的"星雲日記命運的主人"一書中,記載1994年2月27日星期日下午,為舉行籌募佛光大學創校經費的"當代名家藝術精品"義賣會上,會場中最高潮乃是在拍賣張大千先生的"一花一世界"水墨畫(H94 x W212.5 cm 橫幅水墨設色紙本張大千1978年戊午年2月初2日作),這幅畫是民國67年(1978年)3月張大千先生親自送到佛光山來給我們.拍賣時以500萬元起價,經過一番競標,最後由一位蕭姓信徒以6,000萬元得標,但又捐出來給佛光大學;再由遠東集團創辦人徐有庠先生以5,600萬元得標,使得這一幅畫以11,600萬元的高價結了善緣.
因此,佛光大學佛光教科書第11冊"佛光學"之第20課"佛光山大事記",便記載著"佛光山創建緣起摘要"如下:1978年佛光12年3月,張大千先生暨夫人來山禮佛,並贈親繪巨畫"一花一世界".
故"佛光山開山宗長星雲大師大事記"也相對記載著:1978年,星雲大師52歲,國寶級畫家張大千暨夫人來山禮佛,並贈親繪巨畫"一花一世界".
基於前緣,此幅張大千1978年3月作"一花一世界白荷花圖及書法立軸"之出售收入,除了50％是作為在臺灣成立中國書畫及古文物民間博物館的經費外,其餘25％將捐給星雲大師創辦之佛光大學,另外25％亦將捐給星雲大師創辦之佛光山佛光緣美術館.
此幅名畫(H89 x W173 cm),與上述拍賣之張大千1978年戊午年2月初2日作"一花一世界"水墨畫(H94 x W212.5 cm),為張大千於同時間內的姐妹作.兩幅名畫題識中之"一花一世界,三藐三菩提.六十七年,星雲大德印正,蜀郡近事男張大千爰."等29個文字,完全相同,確為張大千本人之親筆書寫筆跡無誤.
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After the Rising and Warm Green Mountains by Huang Gongwang
with Calligraphy by Zhang Daqian dated 1947.
Ink and color on paper,mounted,signed and titled 1947 AUTUMN LUNAR JULY AFTER ZI JIU (Huang Gongwang 1269-1354) RISING AND WARM GREEN MOUNTAINS AT DAFENGTANG ZHANG YUAN,inscribed LISTENING TO THE SPRINGS BELOW THE MOUNTAINS,VISITING OLD FRIEND TO THE SOURCE OF PINE TREES,ARRIVING NOWHERE IN THE DEEP MOUNTAINS,HAVING AN APE HANGING ON TOP BRANCHES OF A TREE,with 3 seals of the artist. Calligraphy: Ink on paper, mounted, hanging scroll, signed INSCRIBED BY SHU JUN ZHANG DAQIAN YUAN, inscribed THE JOURNEY OF CHINESE POEM AND MUSIC, with 5 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
The handwritings of Zhang Daqian in this are the same as those 20 words in "Listening to the springs below the mountains" by Zhang Daqian(1975 H49xW110cm "Select Paintings of Zhang Daqian" P.100,by Museum of History Taipei May 1976.).
The original painting "Rising and Warm Green Mountains" by Huang Gongwang (Huang Kongwang 1269 - 1354 Yuan Dynasty) has been lost. But that was a painting of great renown in southern China from mid- to the end of Ming Dynasty. Famous painting connoisseur Dong Qichang (1555 - 1636) in Ming Dynasty evaluated that as the best one by Huang Gongwang. Thus the paintings after that by those famous artists in Qing Dynasty were all collected as treasures by National Palace Museum, Taipei, Taiwan. This should be the best one after that ever since Qing Dynasty and become priceless!
Size: Painting H93 x W176.5 cm, Calligraphy H135.5 x W67.5 cm.
張大千1947年作 "擬元代黃公望浮巒暖翠山水圖及書法立軸"
畫: H93 x W176.5 cm 橫幅設色紙本鏡片. 書法: 紙本立軸 H135.5 x W67.5 cm.
畫心題識: 聽泉入山麓,訪舊到松源,蹤跡無知處,高枝一掛猿.丁亥秋孟擬子久浮巒暖翠於大風堂下張爰.
三鈐印: 張爰私印,大千居士,大風堂.
書法題識: 中國詩樂之旅, 蜀郡張大千爰題.
五鈐印: 大風堂, 大千居士, 長共天難老, 春長好, 以介眉壽.
子久即元代黃公望(1269 - 1354),其 "浮巒暖翠山水圖" 之原作已無存世, 卻在明代中後期流傳於江南一帶，並被明代書畫鑑賞名家董其昌 (1555 - 1636) 評為黃公望之畫作第一名, 故清代名家之擬作品皆為台灣台北故宮博物院珍藏為寶貴藝術品, 而此幅名畫應為其史上的最佳擬作, 可謂無價之寶.
本件名畫之題識 "聽泉入山麓,訪舊到松源,蹤跡無知處,高枝一掛猿." 20個文字,與台灣台北歷史博物館1976年5月初版 "張大千作品選集" 第100頁圖版 "聽泉入山麓" (H49xW110 cm 1975年作) 之題識20個文字 "完全相同", 故為真正.
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Han Changli Composed a Lyric Poem Derived from Chu Dynasty
by Zhang Daqian dated 1979.
張大千1979年作 "韓昌黎作楚語圖" 立軸 H118.5 x W60cm
題識:韓昌黎作楚語六十八年嘉平月八十一叟爰.
二鈐印:張爰之印,三千大千.
韓昌黎為唐朝韓愈.張大千採用典型中國宋元明清工筆人物畫法,畫工極為精細奧妙.
Ink and colour on paper, hanging scroll, signed 1979 DEC. 81 YEARS OLD MAN YUAN, inscribed and titled HAN CHANGLI COMPOSED A LYRIC POEM DERIVED FROM CHU DYNASTY, with 2 seals of the artist.
Han Changli was a famous poet in Tang Dynasty.The lyric poems composed by him were derived from Chu Dynasty. Master Zhang Daqian,Xu Beihong,and Fu Baoshi preferred to paint those poetic contents derived from Chu and Tang Dynasties into their paintings to instruct people for better thoughts.
This was painted by Zhang Daqian with the most typical fine,delicate people drawings’ technique derived since Song, Yuan, Ming, Qing Dynasties in China.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
The lines of drawing are Zhang Daqian’s.
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The Ten Elder Men in the Legend of China
by Qi Baishi dated 1949.
齊白石1949年作 "十全老人神賢圖" 橫幅設色紙本鏡片 H 94 x W 177 cm
題識:八十九歲白石老人.
二鈐印:齊白石,借山翁.
Horizontal ink and colour on paper, mounted, signed BAISHI OLD MAN, inscribed 89 YEARS OLD, with 2 seals of the artist.
This painting was composed of ten smaller famous figure paintings by Qi Baishi, such as the second figure from the right was called "The retired premier 宰相歸田圖" by Qi Baishi dated 1935. Qi Baishi inscribed in "The retired premier" with “The retired premier has no money in the bag, he would rather to be a bandit, he will not have hurt his incorruptible integrity.”.
齊白石於 "宰相歸田圖" 上題識曰: ”宰相歸田,囊底無錢,寧肯為盜,不肯傷廉.”
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
At the age of 89, Qi Baishi signed "shi 石" in his signature with a circle "O" instead of should-be a square "□" to distinguish it from the fakes.
齊白石於89歲時的簽名 "石" 字, 其 "石" 字下方為一小圓形 "O", 而不是應有之方形 "□", 以便易於區別仿畫.
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The Lotus, Fish, Frogs, Shrimps, and Crabs
by Qi Baishi dated 1949. Preface inscribed by Zhang Daqian.
齊白石1949年作張大千題引首之 "香清荷花魚蛙蝦蟹圖" 手卷
題識:八十九歲白石老人.
3鈐印:齊大,白石,寄萍堂.
引首:香清大千弟張爰.
2鈐印:張季,大千.
齊白石擅於畫出鄉村農莊 "荷花魚蛙蝦蟹" 之美, 故有 "農夫畫家" 之名稱.
Size: Painting H67 x W259.5 cm, Preface H44 x W59 cm
Horizontal ink and colour on paper, handscroll, signed BAISHI OLD MAN, inscribed 89 YEARS OLD, with 3 seals of the artist. Preface signed DAQIAN YOUNGER BROTHER ZHANG YUAN, inscribed FLAVOUROUS LOTUS AND CLEAR WATER, with 2 seals of the inscriber.
Qi Baishi loved to paint lotus, fish, frogs, shrimps, and crabs due to their beauties and symbols of farm, so Qi Baishi was called a typical and popular farmer-style painter.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
At the age of 89, Qi Baishi signed "shi 石" in his signature with a circle "O" instead of should-be a square "□" to distinguish it from the fakes.
齊白石於89歲時的簽名 "石" 字, 其 "石" 字下方為一小圓形 "O", 而不是應有之方形 "□", 以便易於區別仿畫.
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A Bird’s-eye View on Taiwan Cross-Island Road near Herhuan
Splendid golden-outline landscape splashed painting by Zhang Daqian dated 1978.
張大千1978年作“台灣橫貫公路合歡山鳥瞰金碧潑彩山水圖”名畫橫幅設色紙本鏡片 H92 x W170 cm
題識:六十七於摩耶精舍八十叟爰.
三鈐印:張爰私印,大千,大千毫髮.
Splendid golden-outline splashed ink and colour on paper, mounted, signed 80 YEARS OLD MAN YUAN,inscribed 1978 IN MOYEJINGSHE,with 3 seals of the artist.
This painting could be described as one of the most beautiful Chinese Landscape Splashed Paintings you have ever seen in the world!
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
This fine and delicate landscape splashed painting can be done by Zhang Daqian only due to the difficult and essential requirements of at least 30 years of long-term splashed painting experience! Only Master Zhang Daqian met with this strict qualification!
此名畫為張大千大師開創於晚期的 "細潑細筆式金碧潑彩" 畫法, 雖然有些仍是以中國國畫之 "工筆、寫意、鉤勒、設色、水墨等技法形式" 為輔, 但卻已經 "惜筆如金". 畫紙上的絕大部分作畫內容, 都是以 "金碧潑彩" 畫法細潑細筆鉤勒以成之. 這種畫法之困難度極高, 因為畫家必須控制 "潑彩渲染度" 就如同手握 "細筆" 一般, 不論是色彩之調合度與筆意, 皆必須是 "意到即筆到(潑到)" 般恰到好處, 絲毫不容許有任何差錯, 連作畫用紙之渲染度亦必須拿捏精準, 完全無法 "既然粗略潑之, 即大概以成之.". 因為此種畫法相當耗時又耗工, 沒有數十年的 "潑墨" 及 "金碧潑彩" 畫功及足夠經驗, 他人根本就是無法臨摹仿潑之, 否則只是糟蹋浪費自己的畫紙與昂貴顏料而已. 因此成品並不多, 見世作品也不多, 因為張大千大師都是以此種畫作成品贈送予國民黨黨國元老們欣賞居多, 而被鎖入深宮.
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Hwan Shyua Showed Painting to Guests in East Jin Dynasty
by Fu Baoshi dated 1939, preface inscribed by Yu Youren.
傅抱石1939年作由于右任題引首之“詩入畫中桓玄出畫圖”手卷
題識:新喻傅抱石東川金剛坡下寫.
三鈐印:抱石私印,其命唯新,往往醉後.
引首:詩入畫中于右任.
一鈐印:右任.
Size: Painting H 67.5 x W 371.5 cm, Preface H 33.5 x W 78.5 cm
Ink and colour on paper, handscroll, signed and inscribed XIN YU FU BAOSHI WRITTEN IN EAST CHUAN JIN GANG PO XIA, with 3 seals of the artist. Preface signed Yu Youren, inscribed THE POEM WAS DESCRIBED IN THE PAINTING, with 1 seal of the inscriber.
There are 3 paintings with the same content painted by Fu Baoshi in total. These are all very famous in the publications of Fu Baoshi’s paintings. The other two are not handscrolls and were painted with very small sizes.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Yu Youren means “True Authenticity”!
傅抱石1939年作由國民政府第3任監察院院長于右任題引首之“詩入畫中桓玄出畫圖”手卷名畫足可視為傅抱石之真跡原作品.
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The Nine Elders of the Poetry by Bai Juyi in Tang Dynasty
by Fu Baoshi dated 1952, preface inscribed by Xu Beihong.
傅抱石1952年作由徐悲鴻題引首之 "元氣淋漓九老圖" 手卷
題識:一九五二年壬辰九月下浣傅抱石寫.
四鈐印:軌跡大化,抱石大利,往往醉後,其命唯新.
引首:元氣淋漓悲鴻.
一鈐印:悲鴻.
Size: Painting H 68 x W 350.5 cm, Preface H 34 x W 61.5 cm
Ink and colour on paper, handscroll, signed and inscribed FU BAOSHI WRITTEN IN THE LAST TEN DAYS OF SEP. 1952, with 4 seals of the artist. Preface signed XU BEIHONG, inscribed IN HIGH SPIRITS, with 1 seal of the inscriber.
There are three paintings with the same content painted by Fu Baoshi in total. These are all very famous in the publications of Fu Baoshi’s paintings.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Painter and Connoisseur Xu Beihong means “True Authenticity”!
傅抱石1952年作由中國書畫名家及鑑賞家徐悲鴻題引首之 "元氣淋漓九老圖" 手卷名畫足可視為傅抱石之真跡原作品.
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Premier Xie An Brought Beauties to the East Shan Mountain
by Fu Baoshi dated 1945, preface inscribed by Xie Zhiliu.
傅抱石1945年作由謝稚柳題引首之 "春風綠揚東山攜妓圖" 手卷
題識:乙酉人日新喻傅抱石.
三鈐印:抱石私印,傅,其命唯新.
引首:春風綠揚謝稚柳.
二鈐印:謝稚之印,稚柳.
Size: Painting H66 x W371.5cm, Preface H33 x W63.5cm
Ink and colour on paper, handscroll, signed and inscribed FEB. 19, 1945 XIN YU FU BAOSHI, with 3 seals of the artist. Preface signed XIE ZHILIU, inscribed SPRING WIND BLOWS THE GREEN, with 2 seals of the inscriber.
There are five paintings with the same content painted by Fu Baoshi. These are all very famous in the publications of Fu Baoshi’s. The other four are not handscrolls and were painted with very small sizes. The fourth one (dated 1946, H104xW61 cm) was sold USD 5,280,000 on 12-20-2010 by Beijing CNTC Int’l Auction Co., LTD.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Painter and Connoisseur Xie Zhiliu means “True Authenticity”!
傅抱石1945年作由中國書畫名家及鑑賞家謝稚柳題引首之 "春風綠揚東山攜妓圖" 手卷名畫足可視為傅抱石之真跡原作品.
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18 Luohan Disciples Appointed to Witness to Buddhist Truth
by Zhang Daqian dated 1936.
張大千1936年作 "十八羅漢圖" 手卷 H44xW240 cm
題識:十八羅漢圖丙子年三月大千居爰.
二鈐印:張爰之印,三千大千.
此手卷為張大千1936年应徐悲鸿之邀請,擔任南京国立中央大学艺术系教授一年時所繪,為典型中國宋元明清工筆人物動物畫法,畫工極為精細奧妙.
Ink and colour on paper, handscroll, signed and inscribed 18 LUOHAN PAINTING YEAR 1936 MAR. DAQIAN JU YUAN, with 2 seals of the artist.
This was painted by Zhang Daqian in 1936 as an art professor of the National Central University in Nanjing invited by Xu Beihong, with the most historical, rare, fine, delicate people & animal drawings’ techniques derived since Song, Yuan, Ming, Qing Dynasties.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
This was done in 1936 (75 years ago). Only Master Zhang Daqian painted with such fadeless colored pigments in fine,delicate people & animal drawings’ techniques.
張大千1936年作 "十八羅漢圖" 手卷名畫係完成於75年前, 而當時只有張大千大師使用百年不褪色之彩色顏料於典型中國宋元明清工筆人物動物畫法,畫工極為精細奧妙.
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Green Mountain and White Cloud
by Pu Ru, preface inscribed by Zhang Daqian.
溥儒作張大千題引首之 "青山白雲山水圖" 手卷
題識:青山窮無言,白雲勻舒卷,對此復忘歸,何心在軒冕.心畬.
四鈐印:嶽道人,二樂軒,舊王孫,心畬.
引首:春樹龍蟠大千居士爰.
二鈐印:蜀郡張爰,大風堂.
Painting H67.5xW355 cm,Preface H33.5xW75 cm
Year:1950s
Ink and colour on paper, handscroll, signed XINYU, inscribed THE GREEN MOUNTAIN IS VOICELESS, THE WHITE CLOUD IS FOLDED AND SPREAD AS SCROLL, IF YOU HAVE FORGOTTEN HOME IN VIEWING THESE BEAUTIFUL SCENERIES, WHEREABOUTS HAVE YOUR AMBITIONS OF POWER AND FAME BEEN GONE? with 4 seals of the artist. Preface signed DAQIAN JUSHI YUAN, inscribed SPRING TREE GROWING IN DRAGON'S SHAPE, with 2 seals of the inscriber.
Another handscroll (H34xW778cm) by Pu Ru was sold USD 862,500 by Beijing Poly at 2011 Spring Auction Lot.3023 on 2011-06-03.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Painter and Connoisseur Zhang Daqian means “True Authenticity”!
溥儒作由中國書畫名家及鑑賞家張大千題引首之 "青山白雲山水圖" 手卷名畫足可視為溥儒之真跡原作品.
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Two Beautiful Ladies and the Vase
by Lin Fengmian.
林風眠作“二美與花瓶圖”橫幅設色紙本鏡片
簽名:林風眠
一鈐印:林風瞑印
林风眠擅於画出“仕女人物”與“花瓶靜物”間诗情画意之美.
Year: 1925–1949
Size: H 94 x W 176 cm
Horizontal ink and colour on paper, mounted, signed Lin Fengmian, with 1 seal of the artist.
Lin Fengmian was excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Lin Fengmian was so excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase. Thus these features as existing in this painting have become his unique style to be identified as his very “True Authenticity”!
Lin Fengmian's works of art with lage horizontal sizes such as this painting (H 94 x W 176 cm) were nearly all destroyed by the artist himself in his bathroom tub during the Cultural Revolution in China. Only these few works that were painted before 1949, collected by the family member of the Kuomintang party high ranking founding official, and brought to Taiwan, have been actually survived.
林風眠所作之橫幅大尺寸作品 (如此圖 H 94 x W 176 cm) 在文化大革命期間幾乎皆已經被林風眠所自毀於浴缸. 因此, 倖存者應是作於1949年以前, 並被國民黨黨國元老家族所收藏而攜往台灣保存者.
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Three Beautiful Ladies and the Vase
by Lin Fengmian.
林風眠作“三美與花瓶圖”橫幅設色紙本鏡片
簽名:林風眠
一鈐印:林風瞑印
林风眠擅於画出“仕女人物”與“花瓶靜物”間诗情画意之美.
Year: 1925–1949
Size: H 93.5 x W 175.5 cm
Horizontal ink and colour on paper, mounted, signed Lin Fengmian, with 1 seal of the artist.
Lin Fengmian was excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Lin Fengmian was so excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase. Thus these features as existing in this painting have become his unique style to be identified as his very “True Authenticity”!
Lin Fengmian's works of art with lage horizontal sizes such as this painting (H 93.5 x W 175.5 cm) were nearly all destroyed by the artist himself in his bathroom tub during the Cultural Revolution in China. Only these few works that were painted before 1949, collected by the family member of the Kuomintang party high ranking founding official, and brought to Taiwan, have been actually survived.
林風眠所作之橫幅大尺寸作品 (如此圖 H 93.5 x W 175.5 cm) 在文化大革命期間幾乎皆已經被林風眠所自毀於浴缸. 因此, 倖存者應是作於1949年以前, 並被國民黨黨國元老家族所收藏而攜往台灣保存者.
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Five Naked Ladies
by Lin Fengmian.
林風眠作 "五裸女圖" 橫幅設色紙本鏡片
簽名:林風眠
一鈐印:林風瞑印
林风眠擅於画出 "仕女人物" 與 "背景靜物" 間色彩協調而略帶西方抽象式诗情画意之表現美.
此幅作品為林風眠傳世之大尺寸略帶西方抽象式诗情画意之表現美 "仕女圖" 的代表作.
Year:1925–1949
H92.5xW175 cm
Horizontal ink and colour on paper, mounted, signed Lin Fengmian, with 1 seal of the artist.
Lin Fengmian was excellent to paint those beauties of ladies and their coordinate background. This painting by Lin Fengmian was the only one painted in the abstract beautiful description that was mixed with some western style and in large size.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Lin Fengmian was so excellent to paint those beauties of ladies and their coordinate background, as well as the abstract beautiful description that was mixed with some western style. Thus these features as existing in this painting have become his unique style to be identified as his very “True Authenticity”!
Lin Fengmian's works of art with lage horizontal sizes such as this painting (H 92.5 x W 175 cm) were nearly all destroyed by the artist himself in his bathroom tub during the Cultural Revolution in China. Only these few works that were painted before 1949, collected by the family member of the Kuomintang party high ranking founding official, and brought to Taiwan, have been actually survived.
林風眠所作之橫幅大尺寸作品 (如此圖 H 92.5 x W 175 cm) 在文化大革命期間幾乎皆已經被林風眠所自毀於浴缸. 因此, 倖存者應是作於1949年以前, 並被國民黨黨國元老家族所收藏而攜往台灣保存者.
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The Hard Water Drawing of the People Lived in Chongqing
by Xu Beihong dated 1942, preface inscribed by Zhang Daqian.
徐悲鴻1942年作張大千題引首之 "巴人汲水圖" 手卷
題識:壬午夏日悲鴻寫.
四鈐印:江南布衣,悲鴻之畫,東海王孫,?一罕見印文.
引首:風臺水聲大千居士爰.
三鈐印:張爰私印,大千居士,大風堂.
Painting H67xW313 cm, Preface H32xW76 cm
Ink & colour on paper, handscroll, signed and inscribed BEIHONG WRITTEN IN 1942 SUMMER DAY, with 4 seals of the artist. Preface signed DAQIAN JUSHI YUAN, inscribed WIND STEPS THE SOUND OF WATER, with 3 seals of the inscriber.
There are three with the same content painted. Only this one is handscroll. Another one is in Beijing Xu Beihong Museum. The other (H300xW62 cm, mounted vertical scroll) was sold USD 25,704,000 by Beijing Hanhai in 2010 Autumn Auction Lot. 0276 on 12-10-2010. This was a new highest record of Xu Beihong’s.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Painter and Connoisseur Zhang Daqian means “True Authenticity”!
徐悲鴻1942年作由中國書畫名家及鑑賞家張大千題引首之 "巴人汲水圖" 手卷名畫足可視為徐悲鴻之真跡原作品.
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"Jiufang Gao" People in the Chinese Ancient Historical Poem
by Xu Beihong dated 1940.
徐悲鴻1940年作 "九方皋圖" H 94 x W 177.5 cm 橫幅設色紙本鏡片
題識:悲鴻庚辰.
四鈐印:悲鴻之畫,東海王孫,徐,真宰上訴.
徐悲鴻作此圖寓言: "智者沉默寡言收歛其才能於內涵,愚者往往故作姿態多求表現以便藏拙.".
另外一幅徐悲鴻作 "九方皋圖" 係在北京徐悲鴻紀念館, 而此圖為其右方的四分之三圖面, 因兩者作畫條件及元素相同, 故為真正.
Horizontal ink and colour on paper, mounted, signed and inscribed BEIHONG 1940, with 4 seals of the artist.
Xu Beihong made this painting to imply that Silence means Wisdom, and a Fool shows his foolish behavior up in words and appearance!
Another painting with the same artist and content is in Beijing Xu Beihong Museum.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Due to another painting with the same artist and content is in Beijing Xu Beihong Museum, and this painting was made according to the right-hand side three fourth parts of that painting with same painting conditions and elements, thus it’s “True Authenticity”!
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People in Chinese Ancient Historical Poem of Six Dynasties
by Xu Beihong dated 1940.
徐悲鴻1940年作 "六朝人詩意圖" H94xW177.5 cm 橫幅設色紙本鏡片
題識:悲鴻庚辰.
四鈐印:悲鴻之畫,東海王孫,悲鴻之畫,真宰上訴.
此圖之另兩幅姐妹作,一件現存莫斯科博物院,另一件於2008年4月5日至8月17日期間,曾由北京徐悲鴻紀念館合辦展覽於新加坡美術館.徐悲鴻作此圖寓言: "知足常樂,比上不足,比下有餘!".
Ink and colour on paper, mounted, signed and inscribed BEIHONG 1940,with 4 seals of the artist.
Another one with the same artist and content is in Moscow Museum.The other was exhibited in Singapore Art Museum from 2008-04-05 to 2008-08-17.Xu Beihong made these paintings to imply that though it’s neither the richest one, yet nor the poorest, people should be satisfied with status quo.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
Due to the other two sister paintings with the same artist and content,one is in Moscow Museum and another was exhibited in Singapore Art Museum,and this painting was made with same painting conditions and elements,thus it’s “True Authenticity”!
此圖之另兩幅姐妹作,一件為現存莫斯科博物院,另一件於2008年4月5日至同年8月17日期間, 曾由北京徐悲鴻紀念館合辦展覽於新加坡美術館. 因三者作畫之條件及元素皆為相同, 故為真正.
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China,the Wounded Lion,Sat Watching American Flying Tiger
by Xu Beihong dated 1942.
徐悲鴻1942年作 "中國負傷之獅遙望美國飛虎飛將軍" 名畫 H91xW170 cm 橫幅設色紙本鏡片
題識:壬午春日悲鴻.
無鈐印.
此圖之左半部畫面為 "負傷之獅", 現存北京徐悲鴻紀念館.徐悲鴻作此圖寓意 "中國人民感謝美國飛虎空軍隊援華共同抗日"!
Ink and colour on paper, mounted, signed and inscribed BEIHONG 1942 SPRING DAY, with no seals.
Another sister painting with the same artist and the left-hand side part of the content (China,the Wounded Lion) is in Beijing Xu Beihong Museum. Xu Beihong made this painting to imply that Chinese people were grateful to the American Flying Tiger Team for fighting together against Japanese jets in Sino-Japan War.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
Due to another sister painting with the same artist and the left-hand side part of the content (China,the Wounded Lion) is in Beijing Xu Beihong Museum.,and this painting was made with same and extra painting conditions and elements,thus it’s “True Authenticity”!
此圖之左半部畫面為 "負傷之獅", 現存北京徐悲鴻紀念館. 因兩者間作畫之條件及元素皆為相同, 但此幅作品之繪畫內容卻更為豐富多樣化, 故為真正.
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The People Live in Mali Village
by Wu Guanzhong dated 1982.
吳冠中1982年作 "馬里村頭人物風景圖" H 94 x W 176 cm 橫幅設色紙本鏡片
題識:馬里村頭荼一九八二年.
一鈐印:荼.
如此圖, 吳冠中擅於畫出高大老樹之美, 人們到樹下納涼之美, 風景之美, 與生活之美, 故為真正.
Ink and colour on paper, mounted, signed TU 1982, inscribed and titled MALI VILLAGE, with one seal of the artist.
Wu Guanzhong was excellent to paint those beauties of tall trees, people enjoying the cool shadow under the tree, scenery, and the way of people’s living.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Wu Guanzhong was excellent to paint those beauties of tall trees, people enjoying the cool shadow under the tree, scenery, and the way of people’s living. Thus these features as existing in this painting have become his unique style to be identified as his very “True Authenticity”!
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The Lion Grove Garden (Lion Woods)
by Wu Guanzhong dated 1997.
吳冠中1997年作"獅子林"H94xW177.5cm橫幅設色紙本鏡片
題識:吳冠中九七
二鈐印:吳冠中印,冠中寫生.
Ink and colour on paper,mounted,signed and inscribed WU GUANZHONG 1997,with 2 seals of the artist.
Wu Guanzhong was excellent to paint those beauties of scenery by the complex combinations of dots and lines.
Wu Guanzhong made 5 sister paintings of this in total:
One dated 1983 H173xW290cm is in Shanghai Art Museum.
The 2nd dated 1987 H83.3xW152.2cm was sold USD3,215,000 on 2011-04-05 Lot.1171 by Sotheby’s Hong Kong.
The 3rd dated 1988 H144xW297cm was sold USD15,440,000 on 2011-06-03 Lot.2961 by Beijing Poly.
This bid is the 4th and the 5th is not for sale.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
Due to the sister one with the same artist and content is in Shanghai Art Museum,and this was made with same painting conditions and elements,it’s “True Authenticity”!
因吳冠中1997年作此 "獅子林" 圖之姐妹作品為現藏上海美術館, 而此圖與其作畫之條件及元素皆為相同, 故為真正.
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The Wu Gorge
by Wu Guanzhong dated 1979.
吳冠中1979年作"巫峽魂" H96xW178.5 cm橫幅設色紙本鏡片
題識:吳冠中七九
二鈐印:吳冠中印,冠中寫生,
此圖凸顯"巫峽天下奇"奇景,線條特殊.
Ink and colour on paper,mounted,signed and inscribed WU GUANZHONG 1979,with 2 seals of the artist.
Wu Guanzhong was excellent to paint those beauties of scenery by the complex combinations of dots and lines.
There are 4 sister paintings:
One H145xW298cm is in Museum of History,Taipei,Taiwan.
The 2nd H71.8xW145.7cm was sold USD1,925,999 on 2011-10-04 Lot.1560 by Sotheby’s Hong Kong.
The 3rd dated 1985 H182xW375cm was published in "Arts of Wu Guanzhong" P.74-75 by Museum of History,Taipei,Taiwan May 1997.
This bid is the 4th.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
Due to sister one with the same artist and content is in Museum of History,Taipei,Taiwan,and this was made with same painting conditions and elements,it’s “True Authenticity”!
此圖凸顯出 "巫峽天下奇" 之特殊風景, 因線條特殊,而姐妹作品亦現藏於台灣台北歷史博物館, 故為真正.
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Recalling the Beautiful Scenery of Mountain Huang in China
by Zhang Daqian dated 1979.
張大千1979年作 "遙思黃山故景潑彩山水圖" H 92 x W 172 cm 橫幅設色紙本鏡片
題識:木葉含風靜,千山尚綠肥,微暉弄晴晚,猶暖舊林扉.
     六十八年已秋摩耶精舍寫八十一叟爰.
四鈐印:張爰,大千居士,摩耶精舍,大千豪髮.
Splashed ink and colour on paper, mounted, signed 1979 AUTUMN WRITTEN IN MOYEJINGSHE 81 YEARS OLD MAN YUAN, inscribed THE MAPLE LEAVES ARE STILL IN WIND, THE MOUNTAINS ARE STILL SO GREEN, IT'S SHINY ALL DAY TILL LATE, IT'S STILL SO WARM IN THE OLD FOREST, with 4 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this painting are the same as those 33 characters written in "Mountain Village" by Zhang Daqian dated 1978 (H 89 x W 44 cm, ink and colour on paper. Literature: "Paintings of Zhang Daqian, Volume 1", P.130, Picture 90, by Museum of History, Taipei, Taiwan Jan. 1980.). Thus it's “True Authenticity”!
此圖之題識內容: "木葉含風靜,千山尚綠肥,微暉弄晴晚,猶暖舊林扉." 20個文字, 及簽名 "六十,年,秋,摩耶精舍寫,八十,叟爰." 13個文字, 亦同樣出現在張大千1978年作 "山居圖" 名畫中 (H89 x W44 cm 直幅設色紙本著錄為 "张大千書画集第一集" 台灣台北历史博物馆於1980年1月初版, 第130页, 图版90.). 而此33個文字, 兩者筆跡完全相同, 確係皆為張大千本人之親筆書寫筆跡無誤. 且此兩幅名畫之題識簽名內容, 不論是字與字的連貫, 行與行的呼應, 或是張大千本人之信筆落款畫紙, 隨手寫來, 間中停筆, 偶因墨枯再醮墨, 墨色停頓起始, 黑灰濃枯, 筆墨乾濕濃淡, 皆有所變化, 然看起來卻是如前後一氣呵成, 並非臨摹之仿筆, 足以證明, 此兩幅名畫皆為張大千本人的真跡原作. 而本圖張大千之三個鈐印 "張爰,大千居士,摩耶精舍." 印文上, 更有張大千本人所說的 "硃砂本質重, 裝在缸內, 一天不攪, 油就四面溢出." 的 "走油" 痕跡, 更足以證明本圖確為張大千本人的真跡原作品.
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Scholars Appreciating Maples
by Zhang Daqian dated 1979.
張大千1979年作 "高仕賞楓圖" 設色紙本立軸 H128.5 x W60.5 cm
題識:木葉含風靜,千山尚綠肥,微暉弄晴晚,猶暖舊林扉.
     六十八年已秋摩耶精舍寫八十一叟爰.
三鈐印:張爰私印,大千,摩耶精舍.
Ink and colour on paper, hanging scroll, signed 1979 AUTUMN WRITTEN IN MOYEJINGSHE 81 YEARS OLD MAN YUAN, inscribed THE MAPLE LEAVES ARE STILL IN WIND, THE MOUNTAINS ARE STILL SO GREEN, IT'S SHINY ALL DAY TILL LATE, IT'S STILL SO WARM IN THE OLD FOREST, with 3 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this painting are the same as those 33 characters written in "Mountain Village" by Zhang Daqian dated 1978 (H 89 x W 44 cm, ink and colour on paper. Literature: "Paintings of Zhang Daqian, Volume 1", P.130, Picture 90, by Museum of History, Taipei, Taiwan Jan. 1980.). Thus it's “True Authenticity”!
此圖之題識內容: "木葉含風靜,千山尚綠肥,微暉弄晴晚,猶暖舊林扉." 20個文字, 及簽名 "六十,年,秋,摩耶精舍寫,八十,叟爰." 13個文字, 亦同樣出現在張大千1978年作 "山居圖" 名畫中 (H 89 x W 44 cm 直幅設色紙本著錄為 "张大千書画集第一集" 台灣台北历史博物馆於1980年1月初版, 第130页, 图版90.). 而此33個文字, 兩者筆跡完全相同, 確係皆為張大千本人之親筆書寫筆跡無誤. 且此兩幅名畫之題識簽名內容, 不論是字與字的連貫, 行與行的呼應, 或是張大千本人之信筆落款畫紙, 隨手寫來, 間中停筆, 偶因墨枯再醮墨, 墨色停頓起始, 黑灰濃枯, 筆墨乾濕濃淡, 皆有所變化, 然看起來卻是如前後一氣呵成, 並非臨摹之仿筆, 足以證明, 此兩幅名畫皆為張大千本人的真跡原作.
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Lady with a Fan, Bamboos, Parrot Hairpin, in Tang’s Clothes
by Zhang Daqian dated 1980.
張大千1980年作"仿莫高窟初唐人衣飾鸚鵡簪髮飾新篁紈扇仕女圖"設色紙本立軸H126xW60.5cm
題識:六十九年夏日大千張爰.
二鈐印:張爰之印,爰皤.
Ink and colour on paper,hanging scroll,signed and inscribed 1980 SUMMER DAY DAQIAN ZHANG YUAN,with 2 seals of the artist.
This painting was derived from the following made during 1949-1954 by Zhang Daqian:
(1)"Lady with a Fan" sold USD 2,587,500 by China Guardian on 2011-05-23 Lot.1316.
(2)"Lady with a Fan" sold USD 1,003,079 by Sotheby’s Hong Kong on 2011-04-05 Lot.1197.
(3)"Lady and Bamboo" Literature:"Paintings of Zhang Daqian, Volume 6",P.49,picture 18,Museum of History,Taipei,Taiwan Jul.1985.
(4)"Lady Holding Lotus" sold USD 1,540,799 by Christie’s Hong Kong on 2010-05-28 Lot.921.
This was inspired by Zhang Daqian’s early study in the art of the Dunhuang Caves.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品)who received from the artist directly!
Authenticity:
The lines of drawing are Zhang Daqian’s.
此圖乃是下列四圖: (1) 張大千1949年作 "紈扇仕女圖" (H115.5 x W47.2 cm 直幅設色紙本鏡心中國嘉德國際拍賣有限公司 2011-05-23 四君子專場 Lot.1316 拍賣成交價 USD 2,587,500元), (2) 張大千1950年作 "執扇閑情圖 Lady with a Fan" (H111.8 x W48 cm 直幅設色紙本鏡框香港蘇富比有限公司 2011-04-05 中國書畫專場 Lot.1197 拍賣成交價 USD 1,003,079 元), (3) 張大千1952年作 "新篁仕女圖" (H85 x W33 cm 直幅設色紙本著錄為 "张大千書画集第六集", 台灣台北历史博物馆於1985年7月初版, 第49页, 图版18.), (4) 張大千1954年作 "拈花仕女圖 Lady Holding Lotus" (H112 x W44 cm 直幅設色紙本鏡框佳士得香港有限公司 2010-05-28 中國近現代畫專場 Lot.921 拍賣成交價 USD 1,540,799元.) 之綜合題材, 張大千的作畫線條皆是相同, 由敦煌石窟藝術所啟發, 故為真正.
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The Dreamland of Mountain Qingcheng in Heavenly Place
by Zhang Daqian dated 1981.
張大千1981年作 "夢入靑城天下幽人間仙境圖" H 172.5 x W 92 cm 直幅設色紙本鏡片
題識:八十三叟爰台北外雙溪摩耶精舍.
七鈐印:張爰之印,大千居士,摩耶精舍,一切惟心造,得心應手,直造古人不到處,大風堂.
因本圖題識中之 "爰台北外雙溪摩耶精舍" 10個文字, 與台灣台北歷史博物館1983年1月初版 "張大千書畫集第四集" 第 40 - 41 頁圖版31 "嵩壽圖" (張大千1982年作贈台灣台北聯合報創辦人王惕吾二兄七秩華誕)之題識中10個文字 "完全相同", 故為真正.
Vertical splashed ink and colour on paper, mounted, signed 83 YEARS OLD MAN YUAN, inscribed TAIPEI WAISHUANGXI MOYEJINGSHE, with 7 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this painting are the same as those 10 characters in "The Mountains of Longevity" by Zhang Daqian dated 1982 (Dedication to Mr. Wang Tihwu Brother’s 70th Birthday,Founder of United Daily News Group, H 78 x W 180 cm. Literature: "Paintings of Zhang Daqian, Volume 4", P.40 - 41, Picture 31, by Museum of History, Taipei, Taiwan Jan. 1983.).
此幅名畫為張大千大師開創於晚期的 "細潑細筆式潑彩" 畫法, 雖然有些仍是以中國國畫之 "工筆、寫意、鉤勒、設色、水墨等技法形式" 為輔, 但卻已經 "惜筆如金". 畫紙上的絕大部分作畫內容, 都是以 "潑彩" 畫法細潑細筆以成之. 這種畫法之困難度極高, 因為畫家必須控制 "潑彩渲染度" 就如同手握 "細筆" 一般, 不論是色彩之調合度與筆意, 皆必須是 "意到即筆到(潑到)" 般恰到好處, 絲毫不容許有任何差錯, 連作畫用紙之渲染度亦必須拿捏精準, 完全無法 "既然粗略潑之, 即大概以成之.". 因為此種畫法相當耗時又耗工, 沒有數十年的 "潑墨" 及 "潑彩" 畫功及足夠經驗, 他人根本就是無法臨摹仿潑之, 否則只是糟蹋浪費自己的畫紙與昂貴顏料而已. 因此成品並不多, 見世作品也不多, 因為張大千大師都是以此種畫作成品贈送予國民黨黨國元老們欣賞居多, 而被鎖入深宮.
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Lotus, Double Mandarin Ducks and Love Shrimps
by Qi Baishi dated 1951.
齊白石1951年作"荷花鴛鴦雙蝦佳偶圖" H94.5xW177.5 cm 橫幅設色紙本鏡片
題識:九十一歲老人白石.
三鈐印:白石,齊大,悔鳥堂.
白石老人喜歡畫鴛鴦,是因為它們象徵了美和恩愛.齊白石晚年從1948年到1953年畫了很多的"荷花鴛鴦圖",所見不下十幅,故齊白石曰:"老年心腸,不厭荷香,最怕牛羊,最喜鴛鴦.". 此幅為唯一添加 "雙蝦佳偶" 圖者名畫.
Ink and colour on paper, mounted, signed and inscribed 91 YEARS OLD MAN BAISHI, with 3 seals of the artist.
This painting was composed of lotus, double mandarin ducks and love shrimps as its name. Qi Baishi loved to paint double mandarin ducks due to their beauties and symbol of love. From 1948 to 1953 Qi Baishi painted at least ten "Lotus and double mandarin ducks" paintings. So Qi Baishi said: "In my old ages, I prefer lotus, dislike cow and goat, love double mandarin ducks the most.". This painting is the only one added with "Double Love Shrimps".
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The lines of drawing in this painting are Qi Baishi’s.
齊白石畫 "荷花鴛鴦圖" 的作畫題材, 並非少見. 如下述各著錄中圖, 齊白石皆是以紅色荷花, 大荷葉, 細長荷桿, 與水面上成雙入對的鴛鴦作為繪畫內容, 繪成佳偶天成圖: (1) 1996年5月出版, 發行人黃光男, 高玉珍主編, 台灣台北歷史博物館出版之 "齊白石畫集" 第68頁, 齊白石1938年作 "荷花鴛鴦圖" (H135.2 x W33.9 cm 直幅設色紙本). (2) 1994年7月出版, 王大山主編, 榮寶齋(香港)有限公司出版之 "齊白石畫海外藏珍" 第256 - 257頁, 圖版124, 齊白石1948年(88歲)作 "福祿鴛鴦圖" (H125 x W42 cm 直幅設色紙本立軸). (3) 1994年7月出版, 王大山主編, 榮寶齋(香港)有限公司出版之 "齊白石畫海外藏珍" 第104 - 105頁, 圖版48, 齊白石1938年(78歲)作 "荷花雙鳧圖" (H135 x W33 cm 直幅設色紙本立軸). (4) 1996年2月初版, 林庚編輯, 香港合成堂有限公司出版之 "齊白石畫集 1" 第3頁, 圖版1, 齊白石1948年(88歲)作 "春風得意圖" (H176.5 x W96.5 cm 直幅設色紙本). (5) 1996年2月初版, 林庚編輯, 香港合成堂有限公司出版之 "齊白石畫集 1" 第4頁, 圖版2, 齊白石作 "荷花鴛鴦圖" (H137 x W69 cm 直幅設色紙本). (6) 2002年4月初版, 郎紹君著, 台灣台北時報文化出版企業股份有限公司出版發行之 "齊白石的世界 1864-1957" 第472-473頁圖版, 齊白石1952年作 "荷花鴛鴦圖" (H181 x W56.7 cm 直幅水墨設色紙本立軸), 齊白石1947年作 "荷花鴛鴦圖", 齊白石1954年作 "荷花鴛鴦圖".
本名畫中, 齊白石的作畫線條皆是與齊白石平日所繪製的荷花,鴛鴦,蝦等之線條完全相同, 故為真正.
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The Heavenly Place in Mankind World
by Zhang Daqian dated 1982.
張大千1982年作"人家在仙堂潑彩山水圖"H177xW94cm直幅設色紙本鏡片
題識:人家在仙掌,雲氣欲生衣.此右丞逸詩也.八十四叟爰.
八鈐印:張爰之印,大千居士,大風堂,摩耶精舍,一切惟心造,長共天難老,得心應手,直造古人不到處.
Splashed ink and colour on paper,mounted,signed 84 YEARS OLD MAN YUAN,inscribed PEOPLE LIVE IN THE HEAVENLY PLACE,THE HEAVY CLOUD IS TO BECOME THEIR CLOTHES.THIS IS THE POEM WRITTEN BY WANG WEI,with 8 seals of the artist.
The sister painting "Hermit" dated 1966 H193xW101cm was sold USD1,685,900 in Beijing Poly 6/3/2010 Lot.2676;sold USD5,558,400 in Beijing Googut 6/3/2011 Lot.60.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this are the same as those 21 words in "Houses on a Mountain" by Zhang Daqian dated 1982 H70xW33.8cm,sold USD282,700 Christie’s Hong Kong 2011 Spring Auction Lot.2627 5/31/2011,"Paintings of Zhang Daqian,Vol.5",P101,Pic.59,Museum of History,Taipei,Taiwan 1983.
本名畫之題識中 "人家在仙掌,雲氣欲生衣.此右丞逸詩也.八十四叟爰." 21個文字,與台灣台北歷史博物館1983年10月初版 "張大千書畫集第五集" 第101頁圖版59 "仙掌人家"(H70 x W33.8 cm 1982年作) 之題識21文字 "完全相同". "仙掌人家 Houses on a Mountain" 圖於2011年5月31日在佳士得香港有限公司2011年春拍 Lot.2627 售出 USD 282,700元. 而此21個文字, 於兩幅畫中筆跡完全相同, 確係皆為張大千本人之親筆書寫筆跡無誤. 且此兩幅名畫之題識簽名內容, 不論是字與字的連貫, 行與行的呼應, 或是張大千本人之信筆落款畫紙, 隨手寫來, 間中停筆, 偶因墨枯再醮墨, 墨色停頓起始, 黑灰濃枯, 筆墨乾濕濃淡, 皆有所變化, 然看起來卻是如前後一氣呵成, 並非臨摹之仿筆, 足以證明, 此兩幅名畫皆為張大千本人的真跡原作.
此幅名畫為張大千大師開創於晚期的 "細潑細筆式潑彩" 畫法, 雖然有些仍是以中國國畫之 "工筆、寫意、鉤勒、設色、水墨等技法形式" 為輔, 但卻已經 "惜筆如金". 畫紙上的絕大部分作畫內容, 都是以 "潑彩" 畫法細潑細筆以成之. 這種畫法之困難度極高, 因為畫家必須控制 "潑彩渲染度" 就如同手握 "細筆" 一般, 不論是色彩之調合度與筆意, 皆必須是 "意到即筆到(潑到)" 般恰到好處, 絲毫不容許有任何差錯, 連作畫用紙之渲染度亦必須拿捏精準, 完全無法 "既然粗略潑之, 即大概以成之.". 因為此種畫法相當耗時又耗工, 沒有數十年的 "潑墨" 及 "潑彩" 畫功及足夠經驗, 他人根本就是無法臨摹仿潑之, 否則只是糟蹋浪費自己的畫紙與昂貴顏料而已. 因此成品並不多, 見世作品也不多, 因為張大千大師都是以此種畫作成品贈送予國民黨黨國元老們欣賞居多, 而被鎖入深宮.
此幅名畫之另一幅姐妹作品張大千1966年作 "山居圖 Hermit Landscape" (H193 x W101 cm 鏡心直幅設色紙本著錄: 1967年香港東方學會出版 "張大千畫集" 第128頁圖, 拍賣紀錄為: (1) 2010-06-03 北京保利國際拍賣有限公司2011年的5周年春季春賣會 "中國近現代、當代書畫夜場及北堂舊藏齊白石篆刻稀珍(二)" Lot. 2676 拍賣成交價: USD 1,685,900 元. (2) 2011-06-03 北京歌德拍賣有限公司2011年春季藝術品拍賣會 "藝海求真 - 中國近現代書畫專場" Lot. 0060 拍賣成交價: USD 5,558,400 元.
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Lions and Snake
by Xu Beihong dated 1942.
徐悲鴻1942年作"獅與蛇" H95.5 x W178 cm 橫幅設色紙本鏡片
題識:壬午春日悲鴻.
三鈐印:悲鴻,徐,生于憂患.
Ink and colour on paper,mounted,signed and inscribed 1942 SPRING DAY BEIHONG,with 3 seals of the artist.
Xu qingping,Son of Xu Beihong, said:"My father loved to paint lions. Except "Slave and Lion", he did more than ten paintings subject to lions, such as "Lions and Snake"...etc. Xu Beihong made this to imply that China and U.S.A (2 Lions) fight together against Japan (1 Snake) in Sino-Japan War, might it be won by a snake?
The left-hand part of this,"Side Gaze"(H111xW109 cm) by Xu Beihong dated 1939,is in Beijing Xu Beihong Museum.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Due to the left-hand part of this painting,"Side Gaze"(H111xW109cm),is in Beijing Xu Beihong Museum,and this painting was made with extra painting conditions and elements.It’s “True Authenticity”!
徐悲鴻之子徐慶平說: 先君悲鴻公酷愛畫 "獅". 除 "奴隸與獅" 外, 他還創作過數十件以獅為題材的巨作, 如 "獅與蛇" 等. 徐悲鴻寓意抗戰時中美兩國為兩頭巨獅, 聯合對付出洞小蛇日本, 小蛇豈能勝乎? 因此幅畫的左半邊畫面為徐悲鴻1939年作 "側目" 圖 (H111 x W109 cm), 現存北京徐悲鴻紀念館. 而兩幅畫間作畫之條件及元素皆為相同, 但此幅作品之繪畫內容卻更為豐富多樣化, 故為真正.
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Splashed Landscape Fuchun Mountain
by Zhang Daqian dated 1978.
張大千1978年作"富春山居潑彩山水圖"H118xW235.5cm橫幅設色紙本鏡片
題識:江靜潮平豈偶然,一山纔過一山連,釣臺近處行當緩,何用風牽上瀨船.
     戊午年秋月大千居士爰.
二鈐印:西川張爰,張爰私印.
本圖題識中"江x潮平豈偶然,一山纔過一山連,釣臺近處行當緩,何用風牽上瀨船."27個文字及簽名"爰",與台灣台北歷史博物館1982年2月初版"張大千書畫集第三集"第50-51頁圖版37"富春山圖"(H69xW140cm 1980年12月作)之題識27個文字及簽名完全相同,故為真正.
Splashed ink and colour on paper,mounted,signed 1978 AUTUMN DAQIAN JUSHI YUAN,inscribed FUCHUN RIVER IS ONLY TIDELESS INCIDENTALLY,PEOPLE PASS MOUNTAIN OVER AND OVER,IT SHOULD BE SLOW NEAR YENLING DIAOTAI(富春江嚴陵釣臺),THE BOAT SAIL BLOWED BY WIND IS USELESS! with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this are the same as those 27 characters in "Fuchun Mountain" by Zhang Daqian(dated 1980 H69xW140cm "Paintings of Zhang Daqian,Vol.3",P.50-51,Pic.37,Museum of History,Taipei,Taiwan Feb.1982.).It’s “True Authenticity”!
"Landscape Fuchun Mountain" is quite a very famous painting subject for Chinese famous artists in the history! Some of them are priceless and collcted by National Palace Museum of Taipei, Taiwan. Amongst them, the most famous and priceless one is the painting made by Painter Huang Gongwang (Huang Kongwang 1269 - 1354) in Yuan Dynasty. Master Zhang Daqian used "Splashed Colour Painting" technique created by himself in this painting to re-define the works of "Landscape Fuchun Mountain". This should have won and played such an important role in the history of Chinese Painting and become priceless!
以 "富春山居圖" 作為繪畫題材, 在歷史上, 一直是中國繪畫名家的最愛. 有些作品不但是無價之寶, 且為台灣台北故宮博物院所收藏. 其中最有名且為無價的作品即是元代黃公望 (1269 - 1354) 所繪製的 "富春山居圖". 張大千大師以其本人所開創之 "潑彩" 畫法, 重新詮釋繪製 "富春山居圖", 精美絕倫, 令人心曠神怡, 應在中國畫壇歷史上有其重要的角色與地位, 故本名畫亦為無價之寶.
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Sun is Rising and Darkness is Fallen allover the Mountain
with Calligraphy by Zhang Daqian dated 1979.
張大千1979年作"天開影墮潑彩山水圖及書法對聯" 畫 H96xW175cm 橫幅設色紙本鏡片書法 H133xW35cm x 2 紙本立軸七言對聯
Splashed ink and colour on paper,mounted,signed 81 YEARS OLD MAN YUAN,inscribed SUN IS RISING AND DARKNESS IS FALLEN INTO THE SEA,MOUNTAIN CLIFF IS COVERED BY HEAVY FOG OF LAST NIGHT,THE SAILBOATS ON RIVER ARE COMING DOWNWARD AND GOING UPWARD,SAILORS ARE SKILLFUL TO RIDE BOATS OVER WAVES STABLY AGAINST THE WIND FROM EVERY DIRECTION,with 6 seals of the artist.
Calligraphy:Ink on paper,pair of mounted hanging scrolls,7-Character Couplet,signed and inscribed,with 5 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this are the same as those 33 words in "Landscape"by Zhang Daqian(dated 1979 H46xW76cm "Paintings of Zhang Daqian,Vol.1",P.104-105,Pic.69,Museum of History,Taipei,Taiwan Jan.1980).
Calligraphy: Ink on paper, pair of mounted hanging scrolls, Seven-Character Couplet, (first couplet) titled WHEN FIREWOODCUTTER CAME OUT OF THE MOUNTAIN, IT WAS RAINING, inscribed WRITTEN IN LUNAR DEC. 1979 AT MOYEJINGSHE. (second couplet) titled FISHING BOATS WERE BLOWN AWAY BY THE WIND OVER THE WATER, inscribed 81 YEARS OLD MAN YUAN, with 5 seals of the artist, 2 in the first and 3 in the second couplet.
The Seven-Character poem written in the couplet was created by poet Liu Wei in Tang Dynasty China.
張大千1979年作"天開影墮潑彩山水圖及書法對聯" 畫(Painting) H96 x W175 cm 橫幅設色紙本鏡片書法對聯(Seven-Character Calligraphy Couplet) H133 x W35 cm x 2 幅紙本立軸七言對聯
題識:天開影墮滄波裏,峰峭深霾宿霧中,來去江帆憑下上,舟人穩使八方風.八十一叟爰.
六鈐印:張爰之印,大千居士,摩耶精舍,得心應手,直造古人不到處,大風堂.
書法對聯題識: (上聯) 樵客出來山帶雨六十八年嘉平月摩耶精舍書 (下聯) 漁舟過來水生風八十一叟爰. 五鈐印: (上聯) 春長好, 長共天難老. (下聯) 摩耶精舍, 西川張爰, 金石同壽.
(上聯) 樵客出來山帶雨, (下聯) 漁舟過來水生風, 為中國唐朝詩人劉威的七言詩詞.
本名畫中題識 "天開影墮滄波裏,峰峭深霾宿霧中,來去江帆憑下上,舟人穩使八方風.八十一叟爰." 33個文字含簽名 "爰" 字,與台灣台北歷史博物館1980年1月初版 "張大千書畫集第一集" 第104-105頁圖版69 "天開影墮山水圖" (H 46 x W 76 cm 張大千1979年作) 題識內容中的33個文字含簽名 "爰" 字為完全相同. 而此33個文字, 於兩幅畫中筆跡完全相同, 確係皆為張大千本人之親筆書寫筆跡無誤. 且此兩幅名畫之題識簽名內容, 不論是字與字的連貫, 行與行的呼應, 或是張大千本人之信筆落款畫紙, 隨手寫來, 間中停筆, 偶因墨枯再醮墨, 墨色停頓起始, 黑灰濃枯, 筆墨乾濕濃淡, 皆有所變化, 然看起來卻是如前後一氣呵成, 並非臨摹之仿筆, 足以證明, 此兩幅名畫皆為張大千本人的真跡原作.
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Happy Birthday to Chairman Chang Kaishek of the Government
by Zhang Daqian dated 1944, preface inscribed by Yu Youren.
張大千作于右任題引首 "大觀高仕祝壽圖" 手卷
Painting H45.5 x W312 ,Preface H43 x W55 cm
Ink & color on paper, handscroll, signed DAQIAN ZHANG YUAN, inscribed 1944 AUTUMN DAY,with 3 seals of the artist. Preface signed YU YOUREN, inscribed GRAND VIEW,with 2 seals of the inscriber.
This was made by Zhang Daqian in autumn 1944 to celebrate the birthday (Oct.31) on Chairman Chiang Kaishek of National Government via the presentation by Yu Youren, Minister of Control Yuen.
The totem is the boy holding a crane with fleshy red knob on the head. This means “Long Live the Elder!”. The Elder sitting at right-hand side represented Chairman Chiang Kaishek who attained the dignity of Presidency to be kept away from other common people!
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Yu Youren means “True Authenticity”!
張大千1944年作由于右任題引首之 "大觀高仕祝壽圖" 手卷名畫. 題識:甲申秋日大千張爰. 三鈐印:張爰私印,大千,大風堂. 引首:大觀于右任. 二鈐印:關中于氏,右任. 此手卷為張大千於1944年秋天,祝賀國民政府蔣介石主席壽(10月31日)的匠心鉅作.祝壽之圖騰為手持丹頂鶴之祝壽童子,右方端坐受禮者即為蔣介石主席,因獲總統之高位故遠離其他群眾. 張大千1944年作由國民政府第3任監察院院長于右任題引首之“大觀高仕祝壽圖”手卷名畫足可視為張大千之真跡原作品.
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The Single-Log Bridge
by Wu Guanzhong dated 1989.
吳冠中1989年作 "獨木橋" 橫幅設色紙本鏡片
題識:吳冠中一九八九.
二鈐印:冠中寫生,八十年代.
吴冠中谈到:"童年走過獨木橋,白首追寫舊風貌,點線盪漾世事渺."
另幅小尺寸姐妹作"獨木橋"(1989年作 H48 x W68.5 cm 水墨設色紙本兩幅作品之年代,內容,簽名,及一鈐印"八十年代"皆完全相同.),著錄於香港藝術家出版社1990年8月出版"吳冠中畫集"P.32.
Size: H68.5 x W103 cm
Ink and color on paper, mounted, signed WU GUANZHONG 1989, with 2 seals of the artist.
Wu Guanzhong said: I walked through the single-log bridge in my childhood,and traced back things of the past at my old age,I feel everything is insignificant!
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
The sister painting with smaller size (H48xW68.5cm by Wu Guanzhong dated 1989 Literature:"Paintings of Wu Guanzhong" by Hong Kong Artist Publishing Co. Aug. 1990 Page 32) has the same year, content, signature, one seal as this one nearly to be identical to each other despite of the big difference in size. It’s “True Authenticity”!
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Spring Cloud and Morning Mist
by Zhang Daqian dated 1979.
張大千1979年作 "春雲曉靄潑彩山水圖" 橫幅設色絹本鏡片 H47.5 x W54cm
簽名:蜀郡張大千爰.
三鈐印:張爰之印,大千居士,得心應手.
本圖簽名 "蜀郡張大千爰" 6字, 與台灣台北歷史博物館1980年12月初版 "張大千書畫集第二集" 第8-9頁圖版2 "春雲曉靄"(H69 x W176 cm 1979年11月作, 贈予剛卸任中華民國第五任總統職務而擔任台北故宮博物院管理委員會主任委員之嚴家淦先生.)之簽名6字完全相同.
Splashed ink and colour on silk, mounted, signed SHUJUN ZHANG DAQIAN YUAN, with 3 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
The signature "SHUJUN ZHANG DAQIAN YUAN" of Zhang Daqian in this are the same as those 6 words in "Spring Cloud and Morning Mist" by Zhang Daqian (Dedicated to Mr. Yan Jiagan who had been just retired from his 5th Presidency of ROC and succeeded the Chairman of Governing Association of National Palace Museum,Taipei,Taiwan, dated Nov. 1979 H69 x W176 cm, "Paintings of Zhang Daqian,Vol.2", P.8-9,Picture 2, Museum of History,Taipei,Taiwan Dec. 1980). It’s “True Authenticity”!
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Painting the Elder Bintourlu after Technique of Song Dynasty
by Zhang Daqian dated 1946.
張大千1946年作“倣宋人畫賓頭盧尊者像”名畫 H 92 x W 171 cm 橫幅設色紙本鏡片
題識:倣宋人畫賓頭盧尊者像丙戌嘉平月大千張爰.
五鈐印:張爰私印,三千大千,老棄敦煌,除一切苦,大風堂.
此名畫為張大千仿宋人畫敦煌石窟藝術作品, 足可作為美術館的鎮館之寶.
Ink and colour on paper, mounted, signed Dec.1946 DAQIAN ZHANG YUAN, inscribed and titled PAINTING THE ELDER BINTOURLU AFTER TECHNIQUE OF SONG DYNASTY, with 5 seals of the artist.
This was inspired by Zhang Daqian’s early study in the art of the Dunhuang Caves.This fine painting can be the most important and renowned art collection of a museum.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
This work of art was inspired by Zhang Daqian’s early study in the art of the Dunhuang Caves, but had been altered by Master Zhang Daqian with painting technique after Song Dynasty. Only Master Zhang Daqian could have created this one without arguments.
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The Dwellings by the River and Mountain in Southern China
by Wu Guanzhong dated 1992.
吳冠中1992年作 "江南民居風景圖" H94 x W177 cm 橫幅設色紙本鏡片
簽名:吳冠中一九九二.
一鈐印:吳冠中印.
吳冠中說: "我一輩子斷斷續續總在畫江南,...畫不盡江南村鎮, 都緣鄉情, 因此我的許多畫面上出現許多白牆黑瓦的江南民居.". 此名畫不論是線條, 或是樹與葉, 山, 屋旁人物, 水邊江南民居皆為吳冠中所畫, 故為真正.
Ink and colour on paper, mounted, signed WU GUANZHONG 1992, with 1 seal of the artist.
Wu Guanzhong said: I have painted lots of works regarding the southern China constantly in my life....Countless villages and towns were all derived from my country home affections. Therefore there have been many dwellings with white wall and black roof tiles at southern China appeared in my paintings.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The lines of drawing as well as the trees and leaves, mountains, people beside the houses, dwellings by the river were all painted by Wu Guanzhong for sure! It’s “True Authenticity”!
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Rocks by the Sea
by Wu Guanzhong dated 1997.
吳冠中1997年作 "海滨石" H95.5 x W178 cm 橫幅設色紙本鏡片
簽名:吳冠中九七.
二鈐印:吳冠中印,冠中寫生.
此畫不論是線條,或是石上樹與葉,石上彩色斑點,海濱石,海波紋,遠方海上小船及天空飛燕皆為吳冠中所畫,故為真正.
另1幅 "海滨石" 係於 2011-06-03 北京保利2011年“吳冠中作品專場”Lot.2973 吳冠中1987年作 "海滨石" (H96 x W125 cm 橫幅設色紙本)售出 USD 1,698,400 元.
Ink and colour on paper, mounted, signed WU GUANZHONG 1997, with 2 seals of the artist.
The sister painting "Rocks by the Sea" by Wu Guanzhong dated 1987 (H96 x W125 cm,ink and color on paper) was sold USD 1,698,400 by Beijing Poly in 2011 "WU GUANZHONG’s WORKS" Auction Lot.2973 on 2011-06-03.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The lines of drawing as well as the trees and leaves on the rock, the colorful dots upon the rock, rocks, sea waves, remote boats on the sea and swallows in the sky were all painted by Wu Guanzhong for sure! It’s “True Authenticity”!
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Court Ladies and the Vase
by Lin Fengmian.
林風眠作 "宮女與花瓶圖" H97 x W185 cm 橫幅設色紙本鏡片
簽名:林風眠
一鈐印:林風瞑印
林风眠擅於画出 "仕女人物" 與 "花瓶靜物" 間诗情画意之美.
Year:1925-1949
Horizontal ink and colour on paper, mounted, signed Lin Fengmian, with 1 seal of the artist.
Lin Fengmian was excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Lin Fengmian was so excellent to paint those beauties of ladies, still object such as vase, as well as the poetic beauty between the ladies and the vase. Thus these features as existing in this painting have become his unique style to be identified as his very “True Authenticity”!
Lin Fengmian's works of art with lage horizontal sizes such as this painting (H 97 x W 185 cm) were nearly all destroyed by the artist himself in his bathroom tub during the Cultural Revolution in China. Only these few works that were painted before 1949, collected by the family member of the Kuomintang party high ranking founding official, and brought to Taiwan, have been actually survived.
林風眠所作之橫幅大尺寸作品 (如此圖 H 97 x W 185 cm) 在文化大革命期間幾乎皆已經被林風眠所自毀於浴缸. 因此, 倖存者應是作於1949年以前, 並被國民黨黨國元老家族所收藏而攜往台灣保存者.
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The Single Flying Eagle and the Lion
by Xu Beihong dated 1937.
徐悲鴻1937年作 "獨飛老鷹與獅子圖" H95.5 x W178.5 cm 橫幅設色紙本鏡片
題識:獨飛二六年六月悲鴻.
三鈐印:悲鴻,生于憂患,東海王孫.
此圖左半部 "負傷之獅" 現存北京徐悲鴻紀念館. 徐悲鴻作此圖寓意"中國人民歡迎美國飛虎空軍隊援華共同抗日"!
Ink and color on paper,mounted,signed BEIHONG,inscribed and titled SINGLE FLYING JUN. 1937,with 3 seals of the artist.
The sister painting with the same artist and the left-hand side part of the content (China,the Wounded Lion) is in Beijing Xu Beihong Museum. Xu Beihong made this to imply that Chinese people welcame the American Flying Tiger Team to fight together against Japanese jets in Sino-Japan War.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
Due to another painting with the same artist and the left-hand side part of the content (China,the Wounded Lion) is in Beijing Xu Beihong Museum,and this painting was made with same and extra painting conditions and elements,thus it’s “True Authenticity”!
此圖之左半部畫面為 "負傷之獅", 現存北京徐悲鴻紀念館. 因兩者間作畫之條件及元素皆為相同, 但此幅作品之繪畫內容卻更為豐富多樣化, 故為真正.
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Beauty in Red Hair-kerchief,Wooden Shoes,White Robe, Bamboos
by Zhang Daqian dated 1980.
張大千1980年作 "脩竹紅髮巾木屐白袍裸肩日本美女圖"H125.5xW60.5cm 紙本立軸
題識:六十九年夏日大千張爰.
二鈐印:張爰之印,三千大千.
此圖乃 "水月觀音" 的衣紋白描畫法.
Ink and color on paper,hanging scroll,signed DAQIAN ZHANG YUAN,inscribed 1980 SUMMER DAY,with 2 seals of the artist.
This was inspired by Zhang Daqian’s study in Japan after the technique of white-drawing outlines of clothes on Shuiyue-Guanyin(Goddess of Mercy).This white-drawing was very popular in Song,Yuan Dynasties China.But the related collections were mostly reserved in Japan.Zhang Daqian studied at Kyoto,Japan with 2nd elder brother Zhang Shanzi from 1917 to 1919.Since then he ever went to Japan for several times.He had learned this skillfully!
It's a Japanese beauty in red hair-kerchief,wooden shoes,white robe,naked shoulder,by bamboos.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
The lines of white-drawing are Zhang Daqian’s.
圖中日本美女係中國宋元時期所流行畫”水月觀音”的衣紋白描畫法,這類藏品以在日本居多.張大千於1917-1919年与二哥張善孖共同留学日本京都,之後又曾數度前往日本,必然精通此衣紋白描畫法.
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Black Cloud Covering on Top of Mt. Emei among Blue Cloud
by Zhang Daqian dated 1979.
張大千1979年作“可以橫絕峨眉巔黑雲滿布山頂藍雲環繞山間奇景潑墨兼潑彩山水圖”名畫 H138 x W 67 cm 設色紙本立軸
題識:可以橫絕峨眉巔.六十八年閏六月既望摩耶精舍八十一叟爰.
三鈐印:張爰,靑城客,摩耶精舍.
本名畫之題識及簽名 "可以橫絕峨眉巔.六十八年閏六月既望摩耶精舍八十一叟爰." 25個文字,與台灣台北歷史博物館1980年1月初版 "張大千書畫集第一集" 第76-77頁圖版50 "峨眉三頂"(H100 x W92 cm 1979年閏六月既望摩耶精舍作)之題識及簽名25個文字完全相同,故為真正.
Splashed ink and color on paper, hanging scroll, signed 1979 LUNAR-EXTRA JUNE JI WANG MOYEJINGSHE 81 YEARS OLD MAN YUAN, inscribed and tiled MT.EMEI MAY BE CROSSED ON TOP, with 3 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this are the same as those 25 words in "Three Peaks of the Mt. Omei" by Zhang Daqian (dated 1979 H100 x W92cm, "Paintings of Zhang Daqian, Vol.1", P.76-77, Picture 50, by Museum of History, Taipei, Taiwan Jan. 1980.). Thus it’s “True Authenticity”!
"Black Cloud Covering on Top of Mt. Emei among Blue Cloud" hanging scroll painting by Zhang Daqian dated 1979. This painting was unique, because Master Zhang Daqian used both splashed ink and splashed colour techniques to comply with traditional Chinese painting method formed in the history to present a new era of progress for Chinese painting to the world!
張大千1979年作“可以橫絕峨眉巔黑雲滿布山頂藍雲環繞山間奇景潑墨兼潑彩山水圖”名畫 H138 x W 67 cm 設色紙本立軸.
本件名畫之題識及簽名 "可以橫絕峨眉巔.六十八年閏六月既望摩耶精舍八十一叟爰." 25個文字,與台灣台北歷史博物館1980年1月初版 "張大千書畫集第一集" 第76-77頁圖版50 "峨眉三頂" (H100 x W92 cm 1979年閏六月既望摩耶精舍作)之題識及簽名25個文字完全相同,故為真正.
此名畫乃張大千大師開創於早期的 "畫龍點睛(點景)式潑墨兼潑彩" 畫法: 以中國國畫之 "工筆,寫意,鉤勒,設色,水墨等技法形式" 為主, 並在畫景之重要一角以 "潑墨兼潑彩" 畫法加以點景成畫, 建立了中國繪畫史上進步的新時代與新世紀.
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Listening to the Springs below the Mountains
Splendid golden-outline splashed color landscape handscroll painted,preface self-inscribed, by Zhang Daqian dated 1980.
Splendid golden-outline splashed ink & color on paper,handscroll,signed 1980 SUMMER DAY DAQIAN ZHANG YUAN,inscribed LISTENING TO THE SPRINGS BELOW THE MOUNTAINS,VISITING OLD FRIEND TO THE SOURCE OF PINE TREES,ARRIVING NOWHERE IN THE DEEP MOUNTAINS,HAVING AN APE HANGING ON TOP BRANCHES OF A TREE,with 3 seals of the artist.Preface signed SHUREN ZHANG YUAN,self-inscribed LANDSCAPE CREATES WIND,with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Authenticity:
The handwritings of Zhang Daqian in this are the same as those 20 words in "Listening to the springs below the mountains" by Zhang Daqian(1975 H49xW110cm "Select Paintings of Zhang Daqian" P.100,by Museum of History,Taipei,Taiwan May.1976.).It’s also self-inscribed "Authenticity" by the artist!
"Listening to the Springs below the Mountains" Splendid golden-outline splashed ink and color landscape handscroll painting painted and preface self-inscribed by Zhang Daqian dated 1980. Size: Painting H68 x W354.5cm, Preface H50 x W83cm.
張大千1980年作 “山水生風聽泉入山麓金碧潑彩山水圖” 手卷.
題識:聽泉入山麓,訪舊到松源,蹤跡無知處,高枝一掛猿.六十九年夏日大千張爰. 三鈐印:張爰之印,三千大千,摩耶精舍. 引首:山水生風蜀人張爰. 二鈐印:蜀郡張爰,大風堂.
本件手卷名畫之題識 "聽泉入山麓,訪舊到松源,蹤跡無知處,高枝一掛猿." 20個文字,與台灣台北歷史博物館1976年5月初版 "張大千作品選集" 第100頁圖版 "聽泉入山麓"(H49 x W110 cm 1975年作)之題識20個文字完全相同,又為張大千大師本人所自題引首,故為真正.
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The Landscape of River Li being Well-known Forever
by Li Keran dated 1987.
李可染1987年作 "漓江山水傳千古圖" H95.5 x W177 cm 橫幅設色紙本鏡片
題識:漓江山水傳千古歲次丁卯夏可染畫.
二鈐印:可染,李.
Horizontal ink and colour on paper, mounted, signed YEAR 1987 SUMMER PAINTED BY KERAN, inscribed and titled THE LANDSCAPE OF RIVER LI BEING WELL-KNOWN FOREVER, with 2 seals of the artist.
Li Keran was excellent to paint those beauties of landscape along River LI,the sailboats on the river,as well as the mountains and dwelling by the river.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Li Keran was so excellent to paint those beauties of landscape along River LI, the sailboats on the river, as well as the mountains and dwelling by the river. Thus these features as existing in this painting have become his unique style to be identified as his “True Authenticity”!
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The Children and Father Sitting on the Back of Camels
by Huang Zhou dated 1987.
黃冑1987年作 "駱駝背上的小學生與父親" H96 x W178 cm 橫幅設色紙本鏡片
簽名:黃冑.
二鈐印:黃冑之印,雨石居.
黃冑擅於畫出新疆人物,動物,人民生活,與風景之美.
Horizontal ink and colour on paper, mounted, signed Huang Zhou, with 2 seals of the artist.
Huang Zhou was excellent to paint those beauties of the figures, animals, people’s living, and landscape of Xin Jiang (Chinese Turkestan). On 2011-06-04 the sister painting "The Children Sitting on the Back of Camel" (H143 x W135 cm) by Huang Zhou dated 1987 was sold USD 2,316,000 at Beijing Poly 2011 Spring Auction Lot.5136.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Huang Zhou was excellent to paint those beauties of the figures, animals, people’s living, and landscape of Xin Jiang (Chinese Turkestan). Thus these features as existing in this painting have become his unique style to be identified as his “True Authenticity”!
"The Children and Father Sitting on the Back of Camels" by Huang Zhou dated 1987.
黃冑1987年作“駱駝背上的小學生與父親”H96 x W178 cm 橫幅設色紙本鏡片.
黃冑擅於畫出新疆人物,動物,人民生活,與風景之美. 另一幅黃冑1987年姐妹作 "駝背上的小學生 The Children Sitting on the Back of Camel" H143 x W135 cm 立軸設色紙本北京保利 2011-06-04 2011年春拍 Lot.5136 售出 USD 2,316,000 元.
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Dwelling in the Mountains
by Wu Hufan dated 1930, preface inscribed by Xie Zhiliu.
吳湖帆1930年作由謝稚柳題引首之 "春風綠揚枝山居圖" 手卷
題識:山居圖庚午冬日吳湖帆.
三鈐印:吳湖騷,倩盦,梅景書屋.
引首:春風綠揚枝謝稚柳.
二鈐印:稚柳,謝稚之印.
如此幅圖卷內容所示,吳湖帆擅於畫出中國傳統之 "青綠山水" 圖. 吳湖帆1930年作由中國書畫名家及鑑賞家謝稚柳題引首之 "春風綠揚枝山居圖" 手卷名畫足可視為吳湖帆之真跡原作品.
Size: Painting H 66.5 x W 318 cm, Preface H 33 x W 83 cm
Horizontal ink and colour on paper, handscroll, signed 1930 WINTER DAY WU HUFAN, inscribed and titled DWELLING IN THE MOUNTAINS, with 3 seals of the artist. Preface signed Xie Zhiliu, inscribed SPRING WIND BLOWS THE GREEN BRANCHES OF TREES, with 2 seals of the inscriber.
Wu Hufan was excellent to paint Chinese traditional "Green Landscape" (青綠山水) painting as shown in this scroll!
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Preface inscribed by Painter and Connoisseur Xie Zhiliu means “True Authenticity”!
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Waterfall in a Quiet Mountain Valley with Calligraphy
by Zhang Daqian dated 1980.
張大千1980年作 "幽谷飛瀑潑彩山水圖及書法對聯"
Vertical splashed ink and color on paper,mounted,signed YUANWENG,inscribed PAINTED IN DAFENGTANG, with 2 seals of the artist.
Calligraphy: Ink on paper, pair of mounted hanging scrolls, (first couplet) titled AWAY FROM THE BEAUTIFUL COUNTRY HOME THOUSANDS MILES, inscribed and dedicated DEDICATION TO FELLOW-BROTHER WANG XIN HENG FOR INSTRUCTIONAL APPRECIATION. (second couplet) titled THE FAME AND OFFICIAL POWERS ARE MATTERS OF INSIGNIFICANCE, SO NOTHING IS MORE IMPORTANT THAN ENJOYING A DELICIOUS MEAL. inscribed 1980 LUNAR DEC. DAQIAN ZHANG YUAN.
The sister painting with the same content and artist "Waterfall in a Quiet Mountain Valley" (dated 1967, H94 x W43 cm, ink and colour on paper, Framed) was on auction by Christie’s Hong Kong on 1990-10-07 and 1994-05-01 Lot.319 sold USD 49,200.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品)who received from the artist directly!
Size: Painting H133 x W68cm, Calligraphy (pair of mounted hanging scrolls) each calligraphy on scroll H138.5 x W33cm.
Authenticity:
The handwritings and signature of Zhang Daqian in this are the same as those 3 words in "Fuchun Mountain" by Zhang Daqian(dated 1980 H69xW140cm, "Paintings of Zhang Daqian,Vol.3",P.50-51,Pic.37,Museum of History,Taipei,Taiwan Feb.1982.).
張大千1980年作 "幽谷飛瀑潑彩山水圖及書法對聯" 名畫 H133 x W68cm 直幅設色紙本鏡片書法對聯紙本立軸每幅 H138.5 x W33cm
題識: 大風堂作爰翁. 二鈐印: 張爰之印,大千居士.
書法對聯題識:
(上聯) 珠箔雕闌幾千里新衡仁兄法家正之
(下聯) 功名餘事且加餐庚申嘉平月大千張爰.
五鈐印: (上聯) 摩耶精舍, 以介眉壽, 長共天難老. (下聯) 西川張爰, 金石同壽.
本名畫之題識及簽名 "風,爰翁" 3個文字,與台灣台北歷史博物館1982年2月初版 "張大千書畫集第三集" 第50-51頁圖版37 "富春山圖" (H69 x W140 cm 1980年12月作)題識及簽名中之3個文字完全相同,故為真正.
與本名畫內容相同之另一幅姐妹作 "幽谷飛泉(秋山飛瀑)圖 Waterfall in a Quiet Mountain Valley" (張大千1967年作, H94 x W43 cm, 鏡框, 設色紙本) 曾於佳士得香港有限公司 1990年10月7日及 1994年5月1日 Lot.319 拍賣中售出 USD 49,200 元.
(上聯) "珠箔雕闌幾千里" 係北宋詩人賀鑄（1052-1125）作 "小梅花" 中詩詞.
(下聯) "功名餘事且加餐" 為南宋著名愛國詩人辛棄疾（1140-1207）作 "鷓鴣天送人" 中詩詞.
(上聯) 上款人"王新衡將軍" (1908 - 1987) 為中華民國國民政府主席兼國民政府軍事委員會委員長蔣中正主席兼委員長親轄 "軍統局" 之香港特別區少將區長. 為張大千的好朋友, 曾與 "張大千, 張群, 張學良" 三人共稱為 "台北三張一王家庭轉轉聚餐會好友" . 張大千所親自指定之遺囑執行人及張大千死後之書畫遺世作品分配人,保管人,與台北故宮博物院捐贈人.
(First couplet) titled "AWAY FROM THE BEAUTIFUL COUNTRY HOME THOUSANDS MILES" is a poem from the poetry "A Little Plum Blossom" by Poet He Zhu（1052-1125）in North Song Dynasty.
(Second couplet) titled "THE FAME AND OFFICIAL POWERS ARE MATTERS OF INSIGNIFICANCE, SO NOTHING IS MORE IMPORTANT THAN ENJOYING A DELICIOUS MEAL." is a poem from the poetry "A Partridge Singing Day - Seeing Friend Off" by renowned patriotic Poet Xin Qiji（1140-1207）in South Song Dynasty.
(First couplet) The recipient "General WANG XIN HENG" (1908 - 1987) was the Major General, District Commander of Hong Kong District, of "Bureau of Military Secret Service" commanded by Chairman and Generalissimo Chiang Kaishek of the Government and the Military Council., also close friend of Zhang Daqian. General WANG XIN HENG together with Zhang Daqian, Zhang Qun, Zhang Xueliang were called "Three Zhangs and One Wang Family Meal Meeting Fellowship Group in Taipei, Taiwan.". Zhang Daqian personally nominated General WANG XIN HENG as the executor of his will and instructions after decease, also as the distributor, trustee, representing donator (Executing Donations of Works of Art left behind to the National Palace Museum,Taipei,Taiwan.) of the works of art left behind by Zhang Daqian after his decease.
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Golden Outline Red Lotus and a Flying Bird
by Zhang Daqian dated 1978.
張大千1978年作 "香清鈎金紅荷翔鳥圖" 橫幅設色紙本鏡片 H93 x W177 cm
題識: 香清六十七於摩耶精舍大千居士爰.
三鈐印: 張爰私印,大千,三千.
Horizontal ink and colour on paper, mounted, signed 1978 IN MOYEJINGSHE DAQIAN JUSHI YUAN, inscribed and titled FLAVOUROUS LOTUS AND CLEAR WATER, with 3 seals of the artist.
This painting is so unique that people can hardly find another painting amongst those so many "Lotus" paintings by Zhang Daqian with a moving "Wings-Flying Bird" watching the still "Red Lotus".
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings "香清" 2 words and signature "大千, 爰" 3 words of Zhang Daqian in this painting are the same as those 5 words in the preface, inscribed by Zhang Daqian, of the handscroll painting "The Lotus, Fish, Frogs, Shrimps, and Crabs" (Painting H67 x W259.5 cm, Preface H44 x W59 cm) by Qi Baishi dated 1949, thus it’s “True Authenticity”!
This painting is so unique that people can hardly find another painting amongst those so many "Lotus" paintings by Zhang Daqian with a moving "Wings-Flying Bird" watching the still "Red Lotus". It's painted so real that this painting can exactly prove the extreme excellence of Zhang Daqian's painting skill.
此名畫是張大千一生所繪無數荷花圖中罕見加繪 "翔鳥賞荷" 者名畫. 動態展翅飛翔中的小鳥正在觀賞靜態的紅荷花. 形態逼真, 畫工可說是絕妙一流!
因此名畫之題識 "香清" 二字, 與張大千之簽名 "大千, 爰" 三字, 與張大千本人題於齊白石1949年作 "香清荷花魚蛙蝦蟹圖" 手卷 (畫心 H67 x W259.5 cm, 引首 H44 x W59 cm) 之引首上文字及簽名完全相同, 故為真正.
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Wealth and Powerful Honour are Both to Come
by Qi Baishi dated 1949.
齊白石1949年作 "富貴有期圖" 橫幅設色紙本鏡片 H 94.5 x W 176.5 cm
題識: 富貴有期八十九歲白石老人.
四鈐印: 白石, 魯班門下, 人長壽, 悔鳥堂.
齊白石擅於畫出鄉村農莊 "蔬菜水菓及昆蟲" 之美, 故有 "農夫畫家" 之名稱.
Horizontal ink and colour on paper, mounted, signed BAISHI OLD MAN, inscribed 89 YEARS OLD, titled WEALTH AND POWERFUL HONOUR ARE BOTH TO COME, with 4 seals of the artist.
Qi Baishi loved to paint vegetables, fruits, and insects in the country due to their beauties and symbols of farm, so Qi Baishi was called a typical and popular farmer-style painter.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
At the age of 89, Qi Baishi signed "shi 石" in his signature with a circle "O" instead of should-be a square "□" to distinguish it from the fakes.
齊白石於89歲時的簽名 "石" 字, 其 "石" 字下方為一小圓形 "O", 而不是應有之方形 "□", 以便易於區別仿畫.
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Lotus and Shrimps
by Qi Baishi dated 1946.
齊白石1946年作"荷花群蝦圖" 橫幅設色紙本鏡片 H87 x W168.5 cm
題識: 八十六歲白石畫.
四鈐印: 白石老人,寄萍手段,悔鳥堂,吾畫遍行天下蒙人偽造尤多.
Horizontal ink and colour on paper, mounted, signed BAISHI PAINTED, inscribed 86 YEARS OLD, with 4 seals of the artist.
Qi Baishi loved to paint lotus, as well as shrimps in the country pond and river due to their beauties and symbols of farm, so Qi Baishi was called a typical and popular farmer-style painter.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Qi Baishi stamped a very special square seal carved with "My paintings are popular allover the world, nevertheless the fakes by others are also the same many!" on this painting to distinguish it from the fakes. The shrimps painted by Qi Baishi on this painting are all "5-arthromeres shrimps", thus it’s "True Authenticity"!
此圖為齊白石將刻有"吾畫遍行天下,蒙人偽造尤多"之方印蓋在自己的畫上,以便易於區別仿畫,且齊白石在此圖所畫的群蝦,都是"5節蝦",故為真正.
齊白石擅於畫出鄉村農莊池塘與河流中 "荷花及群蝦" 之美, 故有 "農夫畫家" 之名稱.
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Expressionistic Lotus
by Wu Guanzhong dated 1990.
吳冠中1990年作 "表現主義的荷花" 直幅設色紙本鏡框 H 71 x W 64 cm
題識:吳冠中一九九O.
二鈐印:冠中寫生, 九十年代.
Ink and color on paper, mounted and framed, signed WU GUANZHONG 1990, with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The 2nd sister painting “Lotus” by Wu Guanzhong dated 1990 (H70 x W70 cm, Literature: “Paintings of Chinese Modern Renowned Artists” Vol. 12, Page 68, Wu Guanzhong, published by Hong Kong Hanmoxuan Publishing Company on Oct. 27th, 1995.) has the same Signature and Year handwritings as this one. The 3rd sister painting “Lotus” by Wu Guanzhong dated 1990 (H70 x W140 cm) is collected by Shanghai Art Museum. Thus it is “True Authenticity”!
吳冠中1990年作 "荷花" 直幅設色紙本鏡框 H 71 x W 64 cm
吴冠中曾经谈到: "我的画是将西画的优点表现在中国画之中. 我画的点和线, 每一笔都包括了体面的结构关系. 画中的点和线, 不管是大点小点, 长线短线, 在运用上是严格的, 都不是随便乱摆上去的, 有时一点不能多也不能少, 点子多了对画面无补, 我都想办法将他遮掉. 对线的长短也是如此, 都不是随便画上去的, 要恰到好处.". 因此, 此幅吳冠中1990年作 "荷花" 圖名畫, 即是吴冠中画的点和线的结构关系間之最佳詮釋.
而此幅作品之第2幅姐妹作吳冠中1990年作"荷花" (H70 x W70 cm) 水墨設色紙本, 與此幅作品之年代, 內容, 題識簽名, 及2個鈐印皆完全相同, 係著錄於香港翰墨軒出版有限公司於1995年10月27日出版發行之 "名家翰墨叢刊中國近代名家書畫全集第12冊吳冠中/尋故人第68頁圖". 而此兩幅作品之題識簽名 "吳冠中一九九O" 七個文字, 經過科學筆跡比對鑑定分析, 兩者皆係出自吳冠中本人之親筆書寫筆跡, 而且完全相同, 足以證明此兩幅吳冠中1990年作 "荷花" 圖名畫姐妹作, 尺寸雖略有不同, 但是皆為吳冠中本人之真跡原作品.
第3幅姐妹作吳冠中1990年作 "荷花" (H70 x W140 cm) 水墨設色紙本, 與此幅作品之年代, 內容, 簽名, 及1個鈐印 "冠中寫生" 皆完全相同, 現藏上海美術館, 題識: "接天蓮葉, 綫曲屈, 勝于碧", 係著錄於香港翰墨軒出版有限公司於1995年10月27日出版發行之 "名家翰墨叢刊中國近代名家書畫全集第12冊吳冠中/尋故人第70頁圖".
第4幅姐妹作吳冠中1990年作 "荷花" (H69 x W68.5 cm) 水墨設色紙本, 與此幅作品之年代, 內容, 簽名, 及1個鈐印 "九十年代" 皆完全相同, 係著錄於香港藝術家出版社於1990年8月出版發行之 "吳冠中畫集第82頁圖".
第5幅姐妹作吳冠中1990年作 "接天蓮葉勝於碧荷花圖" (H70 x W70 cm) 水墨設色紙本, 與此幅作品之年代, 內容, 簽名, 及2個鈐印 "冠中寫生, 九十年代." 皆完全相同, 題識: "接天蓮葉, 形綫曲折, 勝于碧", 係著錄於 "吳冠中自選畫集", 東方出版社, 建築與城市出版社有限公司, 1992年出版. "吳冠中作品賞鑒" 1993年月曆, 中國攝影出版社(附月曆), 陳嘉庚國際學會會訊第一期封三, 1994年.
第6幅姐妹作吳冠中1990年作 "接天蓮葉荷花圖" (H96.6 x W180.2 cm) 水墨設色紙本, 鏡心, 與此幅作品之年代, 簽名, 及1個鈐印 "冠中寫生" 皆完全相同, 題識: "接天蓮葉, 綫曲屈, 勝于碧", 係著錄於 "散珍集成" 第218至219頁, 河北教育出版社, 2005年5月出版. "吳冠中畫展" 第22頁, (北京) 深巷畫廊, 2006年5月. "藝冠中外" 第84至85頁, 百雅軒文化藝術機構, 2008年7月出版. 拍賣記錄為: 2010年11月21日北京誠軒拍賣有限公司2010年秋季拍賣會中國書畫 (二) Lot. 0313 拍賣成交價: 美金 US$ 935,580 元.
Wu Guanzhong said: "My paintings demonstrate the advantages of the western style merged into Chinese ones. Every dot and line painted by me includes the linking structure relation between plane and volume. The dots and lines at my paintings, no matter they are big or small dots, long or short lines, are not randomly placed. They are used carefully in strict requirements. Sometimes they are not even one dot more or less. Too many dots are needless by the paintings. Therefore sometimes I have to mask surplus dots. So are the lines in their length. They are not randomly painted and must be put precisely in point.". Thus this “Lotus” was the best explanation of the painting theory about dots and lines created by Wu Guanzhong.
The 4th sister painting “Lotus” by Wu Guanzhong dated 1990 (H69 x W68.5 cm, Literature: “Paintings of Wu Guanzhong” Page 82, published by Hong Kong Artist Publishing Company in Aug., 1990.) has also the same Signature and Year handwritings as this one.
The 5th sister painting “Lotus” by Wu Guanzhong dated 1990 (H70 x W70 cm, Literature: “Paintings selected by Wu Guanzhong”, published by Hong Kong Oriental Publishing Company, Architecture and City Publishing Company, in 1992.) has also the same Signature and Year handwritings with the same two seals as this one.
The 6th sister painting “Lotus” by Wu Guanzhong dated 1990 (H96.6 x W180.2 cm, Literature: “The Collection of Lost Art”, page 218–219, published by Hebei Educational Publishing Company in May 2005. Auction record: Sold US$ 935,580 by Beijing ChengXuan Auctions Co., Ltd. at 2010 Autumn Auction Chinese paintings [2] Lot. 0313 on Nov. 21st, 2010. ) has also the same Signature and Year handwritings with the same one seal as this one.
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Dwelling in the Mountain by the Lake Wuting
by Zhang Daqian dated 1967.
張大千1967年作"五亭湖上山居潑彩山水圖" 橫幅設色絹本鏡框 H64 x W70 cm
題識:爰翁丁未之秋五亭湖上寫.
二鈐印:大千唯印大幸,以介眉壽.
Splashed ink and colour on silk,mounted and framed,signed YUAN WENG,inscribed WRITTEN AT LAKE WUTING IN AUTUMN OF YEAR 1967,with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
In 1953 Zhang Daqian moved to Brazil.In Sao Paulo City he purchased 150 acres of land to build a Chinese manor house called "Bade Yuan".In this manor,there was a lake with five pavilions located at the mountain by the lake.So this lake was named "Wuting (Five Pavilions)" by Zhang Daqian personally.This painting was made by Zhang Daqian at manor house "Bade Yuan" in Sao Paulo City Brazil in 1967.In the world only Zhang Daqian had such a personal experience to live and to paint at the mountain pavilion by the Lake Wuting in his manor house,thus it is “True Authenticity”!
1953年, 張大千移居巴西, 在巴西聖保羅市購地150畝, 成立中國式莊園 "八德園", 山旁建有一湖, 其上設有五個亭子, 張大千親自稱之為 "五亭湖". 此 "五亭湖上山居潑彩山水圖" 即為張大千於1967年在巴西 "八德園" 所作, 因世上只有張大千本人才有此種親身所住五亭湖旁山居與作畫經驗, 故為真正.
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Landscape
by Huang Binhong.
黃賓虹作 "山水圖" H93 x W175 cm 橫幅設色紙本鏡片
題識: 遶屋多叢樹, 蛩聲入曉窗, 此時心似水, 殘月照明缸. 黃賓虹畫.
二鈐印: 黃賓虹, 冰上鴻飛館.
Year:1934-1949
Horizontal ink and colour on paper,mounted,signed HUANG BINHONG PAINTED,inscribed THERE ARE PLENTY OF BUSHES SURROUNDING THE HOUSES,THE CHIRPINGS OF LOCUSTS SOUND INTO WINDOWS IN THE MORNING,MY HEART IS STILL AS WATER AT THIS TIME,THE OLD MOONLIGHT STILL SHINES BRIGHTLY THE CROCK CISTERN ,with 2 seals of the artist.
In the world of Chinese Modern Art,there is a common saying of "Northern Qi and Southern Huang".The Northern Qi means Master Qi Baishi,and the Southern Huang means Huang Binhong.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
Huang Binhong was excellent to paint "Landscape Paintings" with heavy cokelike ink,thus this feature as existing in this painting has become his unique style to be identified as his very “True Authenticity”!
在中國現代美術界有 "北齊南黃" 之說. 北齊就是以畫蝦聞名的大師齊白石, 南黃就是著名的山水畫家黃賓虹. 黃賓虹以善用焦墨和濃墨著稱.
In the world of Chinese Modern Art, there is a common saying of "Northern Qi and Southern Huang". The Northern Qi means Master Qi Baishi, and the Southern Huang means Huang Binhong. Huang Binhong was excellent to paint "Landscape Paintings" with heavy cokelike ink.
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A Lotus Pond and Shrimps
by Qi Baishi dated 1949.
齊白石1949年作"荷花池塘群蝦圖" 橫幅設色紙本鏡片 H92 x W177 cm
題識: 借山老人八十九歲作.
二鈐印: 借山翁,齊白石.
Horizontal ink and colour on paper, mounted, signed JIE SHAN OLD MAN (Nickname of Qi Baishi), inscribed PAINTED AT THE AGE OF 89 YEARS OLD, with 2 seals of the artist.
齊白石擅於畫出鄉村農莊荷花池塘中 "荷花及群蝦" 之美, 故有 "農夫畫家" 之名稱.
Qi Baishi loved to paint lotus, as well as shrimps in the country lotus pond due to their beauties and symbols of farm, so Qi Baishi was called a typical and popular farmer-style painter.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The shrimps painted by Qi Baishi on this painting are all "5-arthromeres shrimps", thus it’s "True Authenticity"!
齊白石在此圖所畫的群蝦,都是"5節蝦",故為真正.
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A Spring Voice and Great Luck
by Qi Baishi dated 1947.
齊白石1947年作 "春聲大吉圖" 橫幅設色紙本鏡片 H 91 x W 175 cm
題識: 春聲八十七歲白石老人.
二鈐印: 齊大, 白石.
齊白石擅於畫出鄉村農莊 "花草, 禽鳥, 樹木, 岩石及昆蟲" 之美, 故有 "農夫畫家" 之名稱.
Horizontal ink and colour on paper, mounted, signed BAISHI OLD MAN, inscribed 87 YEARS OLD, titled A SPRING VOICE AND GREAT LUCK (A ROOSTER), with 2 seals of the artist.
Qi Baishi loved to paint flowers, grass, chicken, birds, trees, rocks and insects in the country due to their beauties and symbols of farm, so Qi Baishi was called a typical and popular farmer-style painter.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
At the age of 87, Qi Baishi signed "shi 石" in his signature with a circle "O" instead of should-be a square "□" to distinguish it from the fakes.
齊白石於87歲時的簽名 "石" 字, 其 "石" 字下方為一小圓形 "O", 而不是應有之方形 "□", 以便易於區別仿畫.
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Impressionistic Red Lotus
by Zhang Daqian.
張大千作 "寫意紅荷圖" H 32 x W 64 cm 橫幅設色紙本鏡框
簽名: 大千居士爰.
三鈐印:張爰之印, 大千居士, 摩耶精舍.
年代: 1977 - 1982.
此圖為張大千所作之罕見寫意紅荷花圖, 精美而漂亮, 寫意而絲毫不繁雜.
Ink and colour on paper, mounted and framed, year 1977 - 1982, signed and inscribed DAQIAN JUSHI YUAN, with 3 seals of the artist.
This painting was extremely rare Impressionistic Red Lotus made by Zhang Daqian. It's so wonderful and beautiful. It looks so simply impressionistic and not very complex at all.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian (DAQIAN JUSHI YUAN) in this painting are the same as those 5 characters written in the cover painting of "Paintings of Zhang Daqian" published by Hong Kong Oriental Scholars Association, 1st Edition, in Jan. 1967. Thus it's “True Authenticity”!
此圖上之張大千簽名 (大千居士爰) 五個文字與香港東方學會1967年1月初版之 "張大千畫集" 封面圖上之張大千簽名 (大千居士爰) 完全相同, 故為真正.
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Prolonging Life, Impressionistic Squirrel on Pine, Red Peach
by Qi Baishi dated 1948.
齊白石1948年作"寫意松樹上松鼠與紅桃益壽圖"
Ink and colour on paper,mounted and framed,pair of double screen,(left)signed BAISHI 88 YEARS OLD,inscribed PROLONGING LIFE JIE SHAN YIN GUAN ZHU ZHE,with 2 seals of the artist,(right)signed BAISHI 88 YEARS OLD,with 2 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official(國民黨黨國元老家族藏品) who received from the artist directly!
Authenticity:
These two paintings were obviously painted by Qi Baishi under the same conditions (i.e. same paper,ink,colour pigments,two seals,handwritings,signature,time,and recipient.).Qi Baishi signed "shi 石" in his signature in left one with a circle "O" instead of should-be a square "□" to distinguish it from the fakes.Two signed signatures by 6 words BAISHI 88 YEARS OLD are all the same as those 6 words signed in the "Swallows and Apricot Blossoms" by Qi Baishi dated 1948 that was auctioned at Lot.302,P. 200 of Catalog,Christies Hong Kong on Mar.22,1993.
齊白石1948年作 "寫意松樹上松鼠與紅桃益壽圖" 直幅設色紙本鏡框對屏
左屏(Left) H 68 x W 31.5 cm
右屏(Right) H 68 x W 36 cm
左屏題識: 益壽借山吟館主者白石八十八歲. 二鈐印:白石, 齊大.
右屏題識: 白石八十八歲. 二鈐印:白石, 齊大.
此兩幅對屏名畫皆是齊白石在相同條件狀況下所繪製, 即同樣的紙張, 墨, 顏料, 兩鈐印, 書寫筆跡, 簽名, 時間, 與受贈人. 齊白石於左屏的簽名 "石" 字, 其 "石" 字下方為一小圓形 "O", 而不是應有之方形 "□", 以便易於區別仿畫. 而此兩幅對屏名畫上之兩個齊白石簽名 "白石八十八歲" 六個文字皆與佳士得香港有限公司於1993年3月22日之拍賣目錄第200頁 Lot. 302 齊白石1948年作 "燕子與杏樹花" 上之齊白石簽名 "八十八歲白石" 六個文字完全相同, 故為真正.
Authenticity:
These two paintings were obviously painted by Qi Baishi under the same conditions (i.e. same paper, ink, colour pigments, two seals, handwritings, signature, time, and recipient.). Qi Baishi signed "shi 石" in his signature in left one with a circle "O" instead of should-be a square "□" to distinguish it from the fakes. Two signed signatures by six words BAISHI 88 YEARS OLD are all the same as those six words signed in the "Swallows and Apricot Blossoms" by Qi Baishi dated 1948 that was auctioned at Lot. 302, page 200 of Catalogue, Christies Hong Kong on Mar. 22, 1993. Thus it's “True Authenticity”!
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Annual Purely Floral and Fruity Tributes
by Wu Changshuo.
吳昌碩作 "歲朝清供圖" H 89.5 x W 173.5 cm 橫幅設色紙本鏡片
題識: 歲朝清供安吉吳昌碩.
一鈐印: 昌碩.
年代 (Year) : 1915 - 1927.
Horizontal ink and colour on paper, mounted, year 1915 - 1927, signed ANJI (Home County Town of the artist) WU CHANGSHUO, inscribed and titled ANNUAL PURELY FLORAL AND FRUITY TRIBUTES, with 1 seal of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
In early Republic of China,there were "Three Stones" to name painters at that time. These three painters are Qi Baishi,Fu Baoshi,and Wu Changshuo. In painting techniques, Wu Changshuo was used to painting with the way of writing calligraphy. Therefore the flowers, woods, and stones, like those in this painting, were all written heavily and skillfully by Wu Changshuo. The strength of writings can penetrate into the back of paper. Thus it's “True Authenticity”!
民初畫家有 "三石" 的稱號, 分別為齊白石, 傅抱石, 還有吳昌碩. 在繪畫上面, 吳昌碩慣用 "寫" 的風格來繪畫, 所以吳昌碩畫的花卉木石, 正如此圖, 為笔力厚重老辣, 力透纸背, 故為真正.
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Landscape in Windy Spirit
by Xie Zhiliu.
謝稚柳作 "生風抖擻山水圖" H 94.5 x W 177 cm 橫幅設色紙本鏡片
題識: 生風抖擻壯暮翁稚柳.
二鈐印: 謝稚之印, 稚柳.
年代 (Year) : 1936 - 1949.
Horizontal ink and colour on paper, mounted, year 1936 - 1949, signed ZHUANG MU WENG ZHILIU, inscribed and titled LANDSCAPE IN WINDY SPIRIT, with 2 seals of the artist.
謝稚柳工於山水畫, 以落墨為主, 融以設色, 進而推演落墨山水之畫理. 正如此圖, 畫中山崖峭壁與樹木之線條及其皺紋擦刷, 皆為謝稚柳之老練畫法, 故為真正.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
Xie Zhiliu was excellent to paint "Landscape" mainly in ink first, and then mixed it in colours, in order to develop the painting theory for landscape drawing in ink. Just like the mountain cliffs and trees in this painting, the lines and brushes of them were all painted skillfully by Xie Zhiliu. Thus it's “True Authenticity”!
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Mountain Emei May Be Crossed On Top
by Zhang Daqian dated 1971. 張大千1971年作“可以橫絕峨嵋巔潑彩山水圖”H 95.5 x W 177.5 cm 橫幅設色紙本鏡片
題識: 可以橫絕峨嵋巔.六十年辛亥四月朔, 蜀郡張大千爰.
六鈐印: 張爰之印, 大千居士, 一切惟心造, 得心應手, 大風堂, 直造古人不到處.
Splashed ink and color on paper, mounted, signed SHUJUN ZHANG DAQIAN YUAN, inscribed and tiled MOUNTAIN EMEI MAY BE CROSSED ON TOP, THE FIRST DAY OF APRIL 1971 YEAR XIN HAI, with 6 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian in this painting are the same as those 16 words in Sister painting "Mount E'mei and Calligraphy" by Zhang Daqian (dated 1971 H102 x W191 cm, ink and color on paper, painting and calligraphy gift to Zhang Daqian's family chef Zhen Jianmin 1919-1990, Christie's Hong Kong 11/30/2010 Auction Lot. 2526 / Sale 2822 Sold USD 644,000.). Thus it’s “True Authenticity”!
The signature "SHUJUN ZHANG DAQIAN YUAN" of Zhang Daqian in this painting are also the same as those 6 words in "Spring Cloud and Morning Mist" by Zhang Daqian (Dedicated to Mr. Yan Jiagan who had been just retired from his 5th Presidency of ROC and succeeded the Chairman of Governing Association of National Palace Museum, Taipei, Taiwan, dated Nov. 1979 H69 x W176 cm, "Paintings of Zhang Daqian,Volume 2", Page 8 - 9, Picture 2, Museum of History, Taipei, Taiwan Dec. 1980). Thus it’s “True Authenticity”!
The "Refined Splashed and Refined Brushed" painting technique used by Master Zhang Daqian on this renowned painting was created by him at his late splashed painting period. Although some parts were still painted subordinatively with Chinese Traditional painting techniques and styles such as Very Fine and Delicate Drawings, Impressionistic Painting, Outlined Drawing, Colours Applying Painting, Ink Applying Painting. But the brushes had been saved as precious as gold. Most parts of the painting had been done by the "Refined Splashed and Refined Brushed" techniques. This is extremely difficult to have been done so well as this painting. Painter has to control the splashed colour dyeing conditions on paper just as holding a fine brush on hand. He has to splash (brush) it as precisely as his will in mind. Painter also has to understand even the splashed speed and degree of the paper material so used very well. A little mistake happened upon splashed painting is not allowed. He can not just paint it randomly by finishing it roughly. If painter had no such a wonderful splashed ink and coloured painting experience for at least more than decades, he can not do it well. It's so very difficult and impossible for other painters to copy or imitate after it. Otherwise the copy painter or imitater will just waste his papers and expensive colour pigments for sure. The works of art done by this difficult technique were few and also collected fewer in the world. Owing to its both hard time and efforts consuming of this painting technique, the paintings finished by this were often dedicated to the Kuomintang party high ranking founding officials in Taiwan to promote the painting reputation of Master Zhang Daqian and had always been locked into deep cellar of Governmental Residency.
本名畫之題識及簽名 "可以橫絕峨眉巔.六十年辛亥四月朔. 爰" 16 個文字,與佳士得（香港）有限公司 2010 年 11 月 30 日 2010 年秋季拍卖会 Lot.2526∕Sale2822 之張大千 1971 年姐妹作 "橫絕峨嵋巔"( H 102 x W 191 cm 橫幅水墨設色紙本鏡心張大千贈畫予其家廚陳健民先生 1919-1990 的收藏品拍賣成交價 USD 644,000 )之題識及簽名16個文字完全相同, 故為真正.
本圖簽名 "蜀郡張大千爰" 6字, 亦與台灣台北歷史博物館1980年12月初版 "張大千書畫集第二集" 第8-9頁圖版2 "春雲曉靄"(H69 x W176 cm 1979年11月作, 贈予剛卸任中華民國第五任總統職務而擔任台北故宮博物院管理委員會主任委員之嚴家淦先生.)之簽名6字完全相同, 故為真正.
此幅名畫為張大千大師開創於晚期的 "細潑細筆式潑彩" 畫法, 雖然有些仍是以中國國畫之 "工筆、寫意、鉤勒、設色、水墨等技法形式" 為輔, 但卻已經 "惜筆如金". 畫紙上的絕大部分作畫內容, 都是以 "潑彩" 畫法細潑細筆以成之. 這種畫法之困難度極高, 因為畫家必須控制 "潑彩渲染度" 就如同手握 "細筆" 一般, 不論是色彩之調合度與筆意, 皆必須是 "意到即筆到(潑到)" 般恰到好處, 絲毫不容許有任何差錯, 連作畫用紙之渲染度亦必須拿捏精準, 完全無法 "既然粗略潑之, 即大概以成之.". 因為此種畫法相當耗時又耗工, 沒有數十年的 "潑墨" 及 "潑彩" 畫功及足夠經驗, 他人根本就是無法臨摹仿潑之, 否則只是糟蹋浪費自己的畫紙與昂貴顏料而已. 因此成品並不多, 見世作品也不多, 因為張大千大師都是以此種畫作成品贈送予國民黨黨國元老們欣賞居多, 而被鎖入深宮.
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Splashed Colour Landscape of Beautiful Mountain Qingcheng
by Zhang Daqian dated 1973. 張大千1973年作 "青城天下幽潑彩山水圖" H 91.5 x W 165 cm 橫幅設色紙本鏡片

題識: 青城天下幽, 大千居士爰, 中華民國六十二年六月二十三日.
六鈐印: 張爰之印, 大千居士, 以介眉壽, 得心應手, 大風堂, 直造古人不到處.
Splashed ink and color on paper, mounted, signed DAQIAN JUSHI YUAN, inscribed and tiled LANDSCAPE OF WORLD MOST BEAUTIFUL MOUNTAIN QINGCHENG, JUNE 23RD 1973, 62ND YEAR OF REPUBLIC OF CHINA, with 6 seals of the artist.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品) who received from the artist directly!
Authenticity:
The handwritings and signature of Zhang Daqian (DAQIAN JUSHI YUAN) in this painting are the same as those 5 characters written in the cover painting of "Paintings of Zhang Daqian" published by Hong Kong Oriental Scholars Association, 1st Edition, in Jan. 1967. Thus it's “True Authenticity”!
The title handwritings "LANDSCAPE OF WORLD MOST BEAUTIFUL MOUNTAIN QINGCHENG" of Zhang Daqian in this painting are the same as those 5 words written on the right side of the frame by Zhang Daqian in Sister painting "Landscape in Sichuan (also named City in the Mountain)" by Zhang Daqian (dated 1950, H 51 x W 43.5 cm, ink and color on paper, framed, Christie's Hong Kong 5/26/2008 Auction Lot. 886 Sold USD 57,690, Beijing Council International Auctions Beijing 12/6/2010 Auction Lot. 1123 Sold USD 405,270.). Thus it’s “True Authenticity”!
The "Refined Splashed and Refined Brushed" painting technique used by Master Zhang Daqian on this renowned painting was created by him at his late splashed painting period. Although some parts were still painted subordinatively with Chinese Traditional painting techniques and styles such as Very Fine and Delicate Drawings, Impressionistic Painting, Outlined Drawing, Colours Applying Painting, Ink Applying Painting. But the brushes had been saved as precious as gold. Most parts of the painting had been done by the "Refined Splashed and Refined Brushed" techniques. This is extremely difficult to have been done so well as this painting. Painter has to control the splashed colour dyeing conditions on paper just as holding a fine brush on hand. He has to splash (brush) it as precisely as his will in mind. Painter also has to understand even the splashed speed and degree of the paper material so used very well. A little mistake happened upon splashed painting is not allowed. He can not just paint it randomly by finishing it roughly. If painter had no such a wonderful splashed ink and coloured painting experience for at least more than decades, he can not do it well. It's so very difficult and impossible for other painters to copy or imitate after it. Otherwise the copy painter or imitater will just waste his papers and expensive colour pigments for sure. The works of art done by this difficult technique were few and also collected fewer in the world. Owing to its both hard time and efforts consuming of this painting technique, the paintings finished by this were often dedicated to the Kuomintang party high ranking founding officials in Taiwan to promote the painting reputation of Master Zhang Daqian and had always been locked into deep cellar of Governmental Residency.
此圖上之張大千簽名 (大千居士爰) 五個文字與香港東方學會1967年1月初版之 "張大千畫集" 封面圖上之張大千簽名 (大千居士爰) 完全相同, 故為真正.
本名畫之標題題識 "青城天下幽" 5 個文字,與張大千 1950 年姐妹作 "青城天下幽"( H 51 x W 43.5 cm 直幅設色紙本鏡心佳士得（香港）有限公司 2008 年 5 月 26 日 2008年春季拍卖会 Lot.886 拍賣成交價 USD 57,690, 北京匡时2010年秋季五周年拍卖会渡海三家 - 张大千, 溥儒, 黄君璧书画专场 Lot.1123 拍賣成交價 USD 405,270 ) 之画家張大千自题框上裱边 "青城天下幽" 的題識 5 個文字完全相同, 故為真正.
此幅名畫為張大千大師開創於晚期的 "細潑細筆式潑彩" 畫法, 雖然有些仍是以中國國畫之 "工筆、寫意、鉤勒、設色、水墨等技法形式" 為輔, 但卻已經 "惜筆如金". 畫紙上的絕大部分作畫內容, 都是以 "潑彩" 畫法細潑細筆以成之. 這種畫法之困難度極高, 因為畫家必須控制 "潑彩渲染度" 就如同手握 "細筆" 一般, 不論是色彩之調合度與筆意, 皆必須是 "意到即筆到(潑到)" 般恰到好處, 絲毫不容許有任何差錯, 連作畫用紙之渲染度亦必須拿捏精準, 完全無法 "既然粗略潑之, 即大概以成之.". 因為此種畫法相當耗時又耗工, 沒有數十年的 "潑墨" 及 "潑彩" 畫功及足夠經驗, 他人根本就是無法臨摹仿潑之, 否則只是糟蹋浪費自己的畫紙與昂貴顏料而已. 因此成品並不多, 見世作品也不多, 因為張大千大師都是以此種畫作成品贈送予國民黨黨國元老們欣賞居多, 而被鎖入深宮.
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Eagle Standing on Pine Tree, by Qi Baishi. Ink and Colour on Paper, Hanging Scroll.
H 67 x W 35 cm
齊白石（齊璜）作 "松柏高立老鷹圖" 直幅設色紙本中堂懸掛立軸
簽名: 齊璜(齊白石)
鈐印: 白石翁 (一鈐印)
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Spring is coming to Southern Guangdong Landscape, by Guan Shanyue dated Autumn September 1979. Ink and Colour on Paper, Hanging Scroll.
H 69.3 x W 33 cm
關山月1979年秋九月作 "春到南粵山水圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 春到南粵ㄧ九七九年秋九月關山月於五羊城
鈐印: 關山月 (一鈐印)
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Two Beautiful Horses, by Aisin Gioro Pu Zuo dated 1985. Ink and Colour on Paper, Hanging Scroll.
H 85 x W 45 cm
愛新覺羅溥佐1985年作 "雙駿馬圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 乙丑冬至愛新覺羅溥佐
鈐印: 溥佐長壽 (一鈐印)
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Landscape after Zhao Menghu, by Wu Hufan dated 1950. Ink and Colour on Paper, Hanging Scroll.
H 119 x W 43.4 cm
吳湖帆1950年作 "擬趙孟頫山水圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 擬趙松雪庚寅中秋為壽山先生雅鑒吳湖帆
鈐印: 吳湖騷 (一鈐印)
備註: 趙松雪即元代名畫家趙孟頫 Zhao Menghu (1254-1322),
      亦即元代名畫家王蒙 Wang Meng (1308-1385)的外祖父.
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Spring Cloud and Morning Mist, by Zhang Daqian dated 1965. Splashed Ink and Colour on Silk, Mounted.
H 46 x W 52 cm
張大千1965年作 "春雲曉靄潑彩山水圖" 潑彩設色絹本鏡片
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Landscape, by Huang Binhong. Ink and Colour on Paper, Hanging Scroll.
H 67 x W 33.3 cm
黃賓虹作 "山水圖" 直幅設色紙本中堂懸掛立軸
簽名: 賓虹
鈐印: 賓虹 (一鈐印)
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Landscape, by Huang Binhong. Ink and Colour on Paper, Hanging Scroll.
H 64.8 x W 33 cm
黃賓虹作 "山水圖" 直幅設色紙本中堂懸掛立軸
題識: 合倪黃吳王為一家法, 寫以味蕖有道正之. 賓虹.
鈐印: 賓虹 (一鈐印)
備註: "倪黃吳王" 為元代四大家:倪瓚 (1301-1374), 黃公望 (1269-1354), 吳鎮 (1280-1354), 王蒙 (1308-1385). 上款人 "味蕖" 為黃賓虹之學生郭味蕖 (1908年2月15日-1971年12月21日), 画家, 原名忻, 后改味蕖, 山东潍县人.
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Tall Willow Tree, Morning Cicada, Bamboos, and Little Bird, by Zhao Shao’Ang dated 1941. Ink and Colour on Paper, Hanging Scroll.
H 99 x W 50 cm
趙少昂1941年作 "高柳曉蟬竹葉小鳥圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 高柳曉蟬說西風消息節民先生屬
三十年新春少昂於洛陽
鈐印: 少昂, 美意延年 (二鈐印)
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Flowers and Bird, by Zhao Shao’Ang dated 1945. Ink and Colour on Paper, Hanging Scroll, Double Screen.
H 99.7 x W 50 cm x 2 幅 (Scrolls)
趙少昂1945年作 "花鳥圖" 立軸對屏直幅設色紙本中堂懸掛立軸對屏2幅
題識簽名: 三四年新春, 少昂於巴郡蓉城. (2 幅相同)
鈐印: 少昂, 美意延年 (二鈐印, 2 幅相同)
備註: "巴郡蓉城" 為四川成都.
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Spring and Rocks Landscape of Mountain Yandang, by Lu Yanshao dated 1978. Ink and Colour on Paper, Hanging Scroll.
H 90 x W 46.7 cm
陸儼少1978年12月作 "雁蕩泉石山水圖" 直幅設色紙本中堂懸掛立軸
題識: 雁蕩泉石之圖, 一九七八年十二月, 陸儼少於湯山.
鈐印: 陸儼少 (一鈐印)
備註: "雁蕩" 為浙江省溫州市雁蕩山風景區, 是中國十大名山之ㄧ. 清朝狀元錢維城曾繪 "雁蕩圖", 常為中國歷代畫家的作畫題材. "湯山" 為南京城東約29公里的湯山溫泉風景區, 陸儼少曾於一九七八年十二月至一九七九年之春予居 "湯山" 作畫.
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Beautiful Flowers Attracting Bees
by Gao Yihong dated Oct.1960. 高逸鴻1960年10月上旬作 "群花爭艷招蜂圖" H 128 x W 60.5 cm 直幅設色紙本中堂懸掛立軸
題識: 庚子十月上澣作於蘭香館中, 高逸鴻.
二鈐印: 臨安高氏, 逸鴻.
Ink and Colour on Paper, Hanging Scroll, Signed GAO YIHONG, Inscribed THE FIRST TEN DAYS IN OCT. 1960 PAINTED AT LAN XIANG GUAN, with 2 seals of the artist.
高逸鴻 (1908 - 1982) 為浙江臨安人, 別號蘭香館主, 上澣即上浣, 上旬, 前十日. 高逸鴻在藝術界名氣很大, 曾是故總統蔣經國先生的書畫老師. 1962年左右, 故總統蔣經國先生 [1910 - 1988, 中華民國國民黨政治家及黨魁, 為故總統蔣中正的兒子, 曾任中華民國行政院院長 (1972 - 1978), 後擔任第六任, 第七任中華民國總統（1978 - 1988) 直到逝世.] 每周都到高逸鴻家練字習畫.
Gao Yihong (1908 - 1982) was born at Lin An, Zhe Jiang, China, also named Master of Lan Xiang Guan (Art Gallery). Gao Yihong was well renowned in Taiwan art world. He was the Painting and Calligraphy Teacher of Late President Chiang Ching-kuo [蔣經國蒋经国 Jiang Jingguo 1910 - 1988, Kuomintang (KMT) politician and leader, son of President Chiang Kai-shek, Premier of the Republic of China (ROC) between 1972 and 1978, and President of the Republic of China (ROC) from 1978 until his death in 1988.]. Late President Chiang Ching-kuo went to Gao Yihong's Lan Xiang Guan (Art Gallery) in order to learn how to paint and how to write calligraphy every week during year 1962 or so.
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Antiques 古董
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The Bronze Money-Shaking Fortune Tree of Qing Dynasty China
中國清朝青銅 "搖錢樹"
H 31.5 cm x W 23 cm
Year: 1875
STRUCTURE: 3 Blood Sucking Bats (吸血蝙蝠),1 Money-Shaker (搖錢人),1 Long-Live-and-Good-Fortune (長命富貴) Coin,1 Tongzhi Coin (同治通寶,1862-1874),17 Shunzhi Coins (順治通寶,1644-1661).
This work of art designed with 3 Blood Sucking Bats and 1 Money-Shaker was to be specialized for the nation-wide Treasure-Hunting with expedition.
The last trading transaction record of the only unique one for another "Bronze Money-Shaking Fortune Tree" was USD 2.5 millions purchased by an American Billionaire lived at the fifth grand avenue, New York,U.S.A. from a Belgian dealer in March 1998.
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品)!
Authenticity:
The tree’s root part is as sharp as the royal sword weapon of Qing Government. The diameter of the Money-Coins is 3 cm (used inside the Qing Imperial Palace 清宮內廷 only),not 2.6 cm circulated.
This bronze work of art was belonged to the royal family member of Qing Dynasty, because the diameter of 18 Money-Coins on the tree is 3 cm wide (used inside the Qing Imperial Palace 清宮內廷 only), not 2.6 cm of those coins that were circulated in the domestic market of Qing Dynasty. Fulin was the Shunzhi Emperor (1644-1661).
此中國清朝青銅 "搖錢樹" 原為清朝皇室家族成員所有, 搖錢樹上之18個錢幣皆為直徑3公分寬, 係清宮內廷專用錢幣, 並非是清朝國內市場上所流通之直徑2.6公分寬通用錢幣.
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A Carved Archaic Jade "Fish" Wine-Cup 1046 B.C. - 771 B.C. Western Zhou Dynasty China
西元前1046年至西元前771年中國西周時期 "古玉雕魚形酒杯"
Size: H 20 x W 15 cm
Year: 1046 B.C. - 771 B.C. Western Zhou Dynasty China
年代: 西元前1046年至西元前771年中國西周時期
The carving of this beautiful work of art in 1046 B.C. - 771 B.C. Western Zhou Dynasty China by Archaic Jade (Ancient Old Jade) was still quite primitive.
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
此西元前1046年至西元前771年中國西周時期的古玉雕美麗藝術品, 其雕刻仍然甚為原始!
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
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A Carved Archaic White Jade "Pig-and-Bird-Winged Dragon (Winged Mythical Beast)" of 4700 B.C. - 2000 B.C. Hong-shan Culture in Northern China
中國北方紅山文化時期 "古白玉雕豬鳥翼形龍"
It has been soaked with deep "Yellow-loess Soakage Colour" and has calcification at the rear of sculpture over the past thousands years. This work of art could be described as the earliest "Abstract Sculpture" created by mandkind in the world!
The carving of this beautiful work of art in 4700 B.C.-2000 B.C. Hong-shan Culture Northern China by Archaic White Jade (Ancient Old Jade) was still quite primitive.
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
西元前4700年至西元前2000年中國北方紅山文化時期 "古白玉雕豬鳥翼形龍"
Year: 4700 B.C. - 2000 B.C. Hong-shan Culture in Northern China
Weight: 1597 Grams
Size: H 17.5 x W 10.5 x D 6 cm
年代: 西元前4700年至西元前2000年中國北方紅山文化時期
重量: 1597 公克
尺寸: H 17.5 x W 10.5 x D 6 cm
此藝術品已經具備有數千年之久的深度 "黃土沁色" 及其背部鈣化風化現象. 可說是世界上人類所創造的最早期 "抽象派雕塑品".
此西元前4700年至西元前2000年中國北方紅山文化時期的古白玉雕美麗藝術品, 其雕刻仍然甚為原始!
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
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A White Glazed White-Jadelike Porcelain Lady Figure of the Emperor's Concubine Yang Guifei in Tang Dynasty which was ordered to be made by Qing Dynasty Empress Dowager Tzu Hsi (Ci Xi 1835 - 1908) during her domination from 1862 to 1898 in China.
由清朝慈禧太后 (1835 - 1908) 垂簾聽政時期 (1862 - 1898) 所下令製造之白釉白玉瓷胎唐朝楊貴妃仕女人物
Year: 1862 - 1898
Weight: 1639 Grams
Size: H 20 x W 30 x L 15 cm
年代: 1862 - 1898
重量: 1639 公克
尺寸: 高 20 x 身長 30 x 身寬 15 cm
Origin:
The family member of the Kuomintang party high ranking founding official (國民黨黨國元老家族舊藏品).
Authenticity:
Due to the reason that both the raw material of White-Jadelike Porcelain and the techniques of making this fine work of art had been gone or lost since 19th century, so it can not be made again. Thus it’s "True Authenticity"!
因為自19世紀以來, 此精美藝術品之白玉瓷胎原料及製作工藝皆已經失傳, 無法製造, 故為真正.
"Queen Yang Guifei" (719 - 756) was nominated as the Queen of Emperor Tang Shyuanzhong in year 745 of Tang Dynasty. She was so beautiful that she was always making the Emperor to ignore the country duty. Thus in year 756, the army garrison troops forced the Emperor to kill her, otherwise they should all rebel against the Emperor. Then the Emperor had to kill her by his own order without any choice.
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A Carved Archaic White Jade "Persian Face Elephant" Puzzle 206 B.C. - 220 Han Dynasty China
H23.5 x W21 x L0.6 cm 482 g
西元前206年至西元220年中國漢朝時期 "古玉雕波斯人面大象紋益智拼圖"
This work of art is the earliest White Jade carved "Elephant Puzzle" ever found in the history.
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
Authenticity:
The carvings and drillings of this work of art were not made by modern machine tools,but using the popular "double parallel lines" carvings in Han Dynasty China. The historic famous "Silk Road" was just developed in Han Dynasty China to pass by Persian Empire (Iran),India,and reach Western World further.
西元前206年至西元220年中國漢朝時期 "古玉雕波斯人面大象紋益智拼圖"
Size (尺寸): H 23.5 x W 21 x L 0.6 cm (公分)
Weight (重量): 482 Grams (公克)
Year: 206 B.C. - 220 Han Dynasty China
年代: 西元前206年至西元220年中國漢朝時期.
此精美工藝品為歷史上所發現之最早期的白玉刻 "大象紋益智拼圖".
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
此精美工藝品的彫刻及鑽洞並非是使用現代的機械工具, 而是利用中國漢朝時期所常用之 "雙溝平行線紋" 雕法. 歷史上著名的 "絲路" 正是於中國漢朝時期開闢, 經由波斯帝國 (伊朗), 印度, 更遠達西方世界.
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A Gilt-Bronze "Guanyin Bodhisattva" Figure A.D. 740 - 800 Tang Dynasty China
H 40.5 x W 23 x L 19 cm 9360 g
西元740年至800年中國唐朝 "銅鎏金觀音菩薩造像"
Year: A.D. 740, Chinese Year Gengchen, Emperor Tang Xuan Zong Kai Yuan 28th year; or A.D. 800, Chinese Year Gengchen, Emperor Tang De Zong Zhen Yuan 16th year, Tang Dynasty China.
Inscription (銘文):鴻簋藝品庚辰年拜塑, A WORK OF ART FOR PROMOTING TEMPLEWARE, PRAY AND SCULPTURE IN YEAR GENGCHEN.
Authenticity:
This work of art has very clear and deep soakage colour of aged bronze in Tang Dynasty China. After comparing with the exhibitions in world-wide museums, the semi-seated attitude, full and round cheeks, splendid clothes and decorations can all verify its age in Tang Dynasty China. The Chinese character (簋 GUI) in the inscription was an ancient word and templeware used by ancient Chinese from Shang Dynasty (1600 B.C. - 1046 B.C.) until Tang Dynasty. In fact, this character (簋 GUI) is the same as Yin (殷) that means the dynasty of Shang Dynasty.
西元740年至800年中國唐朝 "銅鎏金觀音菩薩造像"
Size (尺寸): H 40.5 x W 23 x L 19 cm (公分)
Weight (重量): 9360 Grams (公克)
Year: A.D. 740, Chinese Lunar Year Gengchen, Emperor Tang Xuan Zong Kai Yuan 28th year, Tang Dynasty China, or A.D. 800, Chinese Lunar Year Gengchen, Emperor Tang De Zong Zhen Yuan 16th year, Tang Dynasty China.
年代: 西元740年庚辰年中國唐朝唐玄宗開元28年, 或西元800年庚辰年中國唐朝唐德宗貞元16年.
此工藝品具備有非常清楚與深沉的中國唐朝古老青銅沁色. 經過與世界各國博物館內的展示品比對後, 其半坐姿勢, 圓潤雙頰, 與華麗服飾皆可證明應為中國唐朝時期作品. 銘文上之 "簋 GUI" 字為從中國商朝 (1600 B.C. - 1046 B.C.) 至唐朝時期所使用之古文字及祭祀用品. 事實上 "簋 GUI" 字即為 "殷 YIN" 字, 代表中國商朝.
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A Carved Archaic Green Jade "Sword" Token of Imperial Authority by Emperor 1600 B.C. - 1046 B.C. Shang Dynasty China
H 15 x W 4.8 x L 1.1 cm 157 g
西元前1600年至西元前1046年中國商朝時期 "殷商帝王用古青玉雕玉劍令牌"
殷商甲骨文銘文:
(一面) 己匕乃三司兵(己身上匕劍為左中右三師司令).
(另一面) 匕示呼佐左(出示匕劍即呼召命令佐助商王左軍).
Inscription in Oracle bone script of Shang Dynasty China:
(One Side) THIS SWORD TOKEN REPRESENTS COMMANDER IN CHIEF OF THE LEFT, MIDDLE, RIGHT ARMY DIVISIONS.
(Another Side) ONCE THIS SWORD TOKEN IS SHOWN, YOU ARE COMMANDED TO BE LEFT ARMY BY KING OF SHANG.
Authenticity:
The carvings and drillings of this work of art were not made by modern machine tools,but using the popular "Handmade Relief Carvings" in ancient China. This work of art has also very clear and deep soakage colour of aged green jade in ancient China. The Chinese characters in the inscription were Oracle Bone Scripts that were ancient words used by Chinese in Shang Dynasty (1600 B.C. - 1046 B.C.) China. Thus it’s "True Authenticity"!
西元前1600年至西元前1046年中國商朝時期 "殷商帝王用古青玉雕玉劍令牌"
Size (尺寸): H 15 x W 4.8 x L 1.1 cm (公分)
Weight (重量): 157 Grams (公克)
Year: 1600 B.C. - 1046 B.C. Shang Dynasty China
年代: 西元前1600年至西元前1046年中國商朝時期
This work of art is the earliest Archaic Green Jade carved "Sword Token of Imperial Authority by Emperor" ever found in the history.
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
此精美工藝品為歷史上所發現之最早期的青玉刻 "帝王用古玉雕玉劍令牌".
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
此精美工藝品的彫刻及鑽洞並非是使用現代的機械工具, 而是利用中國古代的 "手工浮雕法".
此工藝品亦具備有非常清楚與深沉的中國古老青玉沁色.
而銘文上之甲骨文字為中國商朝時期 (1600 B.C. - 1046 B.C.) 所使用的古老文字, 故為真正.
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A Carved Archaic Red Jade Military Token of Imperial Authority by Emperor 1644 –
1911 Qing Dynasty China
H 10.5 x W 5.9 x L 1.0 cm 162 g
西元1644年至西元1911年中國清朝時期 "清朝皇帝用古紅玉雕軍事玉令牌"
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
Authenticity:
The carvings and drillings of this work of art were not made by modern machine tools,but using the popular "Handmade Relief Carvings" in ancient China. This work of art has also very clear and deep soakage colour of aged red jade in ancient China. The inscriptions on both sides were all in Manchu Tungus Characters used by the Emperor of Qing. Thus it’s "True Authenticity"!
西元1644年至西元1911年中國清朝時期 "清朝皇帝用古紅玉雕軍事玉令牌".
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
此精美工藝品的彫刻及鑽洞並非是使用現代的機械工具, 而是利用中國古代的 "手工浮雕法". 而此工藝品亦具備有非常清楚與深沉的中國古老紅玉沁色.
兩面銘文上之文字皆為中國清朝時期 (1644 - 1911) 皇帝所使用的滿文文字, 故為真正.
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An Archaic 9K Karat Gold Carved "Great Tang Zhenguan Dancing Horses and Flowers Gold Bowl" of Emperor Tang Taizong Li Shimin A.D. 627 - 649 Great Tang Zhenguan Year Tang Dynasty China
H 6 x D 14 cm 306 g 9K Karat Gold (9K金, 赤金) Gold (黃金) 37.5% + Copper (銅) 62.5%
西元627年至649年貞觀年間中國唐朝皇帝唐太宗李世民使用之9K黃金製 "大唐貞觀刻花舞馬紋赤金金碗"
Authenticity:
This fine work of art has two dancing horses inscribed at the inner side upper bottom of the bowl. In the historical record, Emperor Tang Taizong Li Shimin had indeed owned two beloved dancing horses in the Imperial Palace.
The national flower totem of Great Tang and four characters "Great Tang Zhenguan" inscribed at the outside bottom of the bowl were made so refinedly that were not to be done other than Tang Dynasty China.
此精美工藝品於碗底內緣鑲嵌有兩匹舞馬, 而在歷史記載中, 中國唐朝皇帝唐太宗李世民確實在皇宮中擁有兩匹摯愛會銜杯跳舞敬酒的舞馬.
碗底外緣所鑲嵌之大唐國花圖騰及大唐貞觀四個文字, 製作精美, 非中國唐朝時期製品莫屬, 而為其他朝代所無法製造.
The size and totems of this gold bowl are the same as those of the one collected by National Palace Museum, Taipei, Taiwan.
此金碗之尺寸, 圖騰與台灣台北故宮博物院所藏完全相同.
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An Archaic 9K Karat Gold Carved "Great Tang Zhenguan Phoenix Gold Plate" of Empress Chang Sun (A.D. 601 - 636) of Emperor Tang Taizong Li Shimin A.D. 627 - 649 Great Tang Zhenguan Year Tang Dynasty China
H 5.7 x D 29.5 cm 760 g 9K Karat Gold (9K金, 赤金) Gold (黃金) 37.5% + Copper (銅) 62.5%
西元627年至649年貞觀年間中國唐朝皇帝唐太宗李世民之長孫皇后(西元601年至636年)使用之9K黃金製 "大唐貞觀刻花鳳紋赤金金盤"
Authenticity:
The phoenix totem inscribed at the inner side upper bottom of the plate was made so refinedly that was not to be done other than Tang Dynasty China. The clear and deep soakage of yellow loess at the inner side upper bottom of the plate was enough to be a proven evidence of its old ages.
盤底內緣所鑲嵌之鳳凰圖騰, 製作精美, 非中國唐朝時期製品莫屬, 而為其他朝代所無法製造. 盤底內緣之清晰而又深沉的黃土沁色足夠證明它的古老年份.
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A Pair of Carved Archaic Yellow Jade "Royal Dragon and Phoenix" Axes to Worship Heaven by Emperor 1046 B.C. - 771 B.C. Western Zhou Dynasty China
西元前1046年至西元前771年中國西周時期一對 "古黃玉圓雕周天子祭天用皇室龍鳳紋玉斧"
Size and Weight (尺寸及重量): (Yellow Jade Carved Dragon Ax 黃玉雕龍斧) H 5.1 x W 10.5 x D 1.7 cm 102 grams 公克, (Yellow Jade Carved Phoenix Ax 黃玉雕鳳斧) H 5.3 x W 10.5 x D 1.5 cm 80 grams 公克.
年代: 西元前1046年至西元前771年中國西周時期
Authenticity:
The carvings of these beautiful works of art in Western Zhou Dynasty China by Archaic Yellow Jade (Ancient Old Jade) were still quite primitive and not made by modern machine tools, but using the popular "Handmade Round Volume Sculpture Carvings" in ancient China. These works of art have also very clear and deep yellow loess soakage colour of aged yellow jade in ancient China. The inscriptions on both sides of "Dragon Ax" were "The Sun Rises" and "From the River" in four ancient characters used by the people in Western Zhou Dynasty China. Thus it’s "True Authenticity"!
The incised feminine totem lines of linking clouds and inclined square frames on "Yellow Jade Carved Phoenix Ax", and the incised feminine totem lines of scales of fish on "Yellow Jade Carved Dragon Ax", were all the popular jade carved decoration totems used in Western Zhou Dynasty China. The incised feminine totem lines have the tracks of one side wall vertical and another side wall sloping made by the ancient bronze jade-cutting wheel of jade workshop. Yellow Jade was the privilege of ancient Royal family.
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
此西元前1046年至西元前771年中國西周時期的古玉雕美麗藝術品, 其雕刻仍然甚為原始! 並非是使用現代的機械工具, 而是利用中國古代的 "手工圓雕法". 而此工藝品亦具備有非常清楚與深沉的中國古老黃土沁色. "黃玉雕龍斧" 兩面之銘文 "日出" 與 "水上" 四文字皆為中國西周時期 (1046 B.C. - 771 B.C.) 所使用的古文字, 故為真正.
"黃玉雕鳳斧" 上之陰線勾連雲紋與斜格紋, 及 "黃玉雕龍斧" 上之陰線魚鱗紋皆為中國西周時期的常用玉雕紋飾, 陰線紋溝槽亦有原始制玉青銅舵具的勾撤 (溝壁一側為直, 另一側為坡.) 刻痕, 且黃玉為中國古代皇室特權專用玉.
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
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A Pair of Carved Archaic White Jade "Low Heel" Royal Wine Cups to Worship Heaven by Emperor 206 B.C. - A.D. 25 Western Han Dynasty China Height 6.8 x Cup Diameter 3.8 x Heel Base Diameter 3.1 cm 88 grams each x 2
西元前206年至西元25年中國西漢朝時期一對 "古白玉雕漢天子祭天用皇室低足酒盃"
Size and Weight (尺寸及重量): 高 Height 6.8 x 盃徑 Cup Diameter 3.8 x 足徑 3.1 cm 每個 88 公克 grams each x 2.
年代: 西元前206年至西元25年中國西漢朝時期
Authenticity:
The carvings of these beautiful works of art in Western Han Dynasty China by Archaic White Jade (Ancient Old Jade) were still quite primitive and not made by modern machine tools, but using the popular "Handmade Carvings" in ancient China. These works of art have also very clear and deep yellow loess soakage colour of aged white jade in ancient China. The incised feminine totem lines of linking nipples in steps were all the popular jade carved decoration totems used in Western Han Dynasty China. White Jade was the privilege of ancient Royal family. Thus it’s "True Authenticity"!
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
此西元前206年至西元25年中國西漢朝時期的古玉雕美麗藝術品, 其雕刻仍然甚為原始! 並非是使用現代的機械工具, 而是利用中國古代的 "手工雕法". 此 "漢白玉雕酒盃" 上之陰線階梯勾連乳丁紋為中國西漢朝時期的常用玉雕紋飾, 且白玉為中國古代皇室特權專用玉, 而此工藝品亦具備有非常清楚與深沉的中國古老黃土沁色, 故為真正.
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
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A Pair of Carved Archaic Yellow Jade "Royal Twin Head Dragon and Twin Dragons Queen" Round Pendants 475 B.C. - 221 B.C. Eastern Zhou Dynasty Warring Times China
西元前475年至西元前221年中國東周戰國時期一對 "古黃玉透雕皇室雙頭龍與雙螭龍皇后紋環珮"
Size and Weight (尺寸及重量): (Yellow Jade Carved Twin Head Dragon Round Pendant 黃玉雕雙頭龍紋環珮) Diameter 7.2 x Depth 0.6 cm 63 grams 公克, (Yellow Jade Carved Twin Dragons Queen Round Pendant 黃玉雕雙螭龍皇后紋環珮) Diameter 6.6 x Depth 0.6 cm 42 grams 公克.
年代: 西元前475年至西元前221年中國東周戰國時期
Authenticity:
The carvings of these beautiful works of art in Eastern Zhou Dynasty Warring Times China by Archaic Yellow Jade (Ancient Old Jade) were still quite primitive and not made by modern machine tools, but using the popular "Handmade Penetrating Carvings" in ancient China. These works of art have also very clear and deep yellow loess as well as cinnabar soakage colour of aged yellow jade in ancient China. Thus it’s "True Authenticity"!
The incised feminine totem lines have the tracks of one side wall vertical and another side wall sloping made by the ancient bronze jade-cutting wheel of jade workshop. Yellow Jade was the privilege of ancient Royal family.
The incised feminine totem lines of linking clouds, twisted ropes, the long or short parallel lines as thin as hair appeared at the feet and beard of twin head dragon on "Yellow Jade Carved Twin Head Dragon Round Pendant", and the incised feminine totem lines of linking clouds, the curved parallel lines as thin as hair appeared at the head hair of queen on "Yellow Jade Carved Twin Dragons Queen Round Pendant", were all the popular and remarkable jade carved decoration totems used in Eastern Zhou Dynasty Warring Times China.
Jades are beautiful semi-translucent precious stones that are more dense than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
此西元前475年至西元前221年中國東周戰國時期的古玉雕美麗藝術品, 其雕刻仍然甚為原始! 並非是使用現代的機械工具, 而是利用中國古代的 "手工透雕法". 而此工藝品亦具備有非常清楚與深沉的中國古老黃土與硃砂沁色, 陰線紋溝槽亦有原始治玉青銅舵具的勾撤 (溝壁一側為直, 另一側為坡.) 刻痕, 且黃玉為中國古代皇室特權專用玉, 故為真正.
"黃玉雕雙頭龍紋環珮" 上之陰線勾連雲紋, 扭繩紋, 與雙頭龍腿部及鬍鬚處之長短曲平行線紋游絲毛雕, 及 "黃玉雕雙螭龍皇后紋環珮" 上之陰線勾連雲紋, 與皇后頭部之捲曲髮紋游絲毛雕皆為中國東周戰國時期的常用且顯著玉雕紋飾.
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.
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A Carved Archaic Sheep-Fat-Oily Mutton Fat White Jade "Linking Clouds" Royal Dragon Pendant 206 B.C. - A.D. 25 Western Han Dynasty China H 4.4 x W 6.7 x D 1 cm 56 g
西元前206年至西元25年中國西漢朝時期 "古羊脂白玉透空圓雕漢朝皇室用勾連雲紋龍形珮"
Size and Weight (尺寸及重量): 高 H 4.4 x 寬 W 6.7 x 厚 D 1 cm 56 公克 g
年代: 西元前206年至西元25年中國西漢朝時期
Authenticity:
The carvings of this beautiful work of art in Western Han Dynasty China by Archaic Mutton Fat White Jade (Ancient Old Jade) were still quite primitive and not made by modern machine tools, but using the popular "Handmade Penetrating Round Volume Sculpture Carvings" in ancient China. The carving techniques of this work of art were made simply, clearly, skillfully, and smoothly upon a thick and solid jade, and the incised feminine totem lines of linking clouds in flowers and double parallel lines were all the popular jade carving techniques and decoration totems used in Western Han Dynasty China. Sheep-Fat-Oily Mutton Fat White Jade was the only privilege of ancient Emperors' family.
This work of art has also very clear and apparent slight yellow loess soakage color in the skin as the aged Sheep-Fat-Oily Mutton Fat White Jade in ancient China. Thus it’s "True Authenticity"!
Jades are beautiful semi-translucent precious stones that are denser than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
"Archaic Sheep-Fat-Oily Mutton Fat White Jade" was the gem class jade of best quality in Han Dynasty China. But the modern people have never seen it before. It was the only privilege of ancient Emperors' family in Han Dynasty China. The work of art made by this jade was left scarcely and has been seen rarely in this world. Its color is as that of sheep fat and has oily shining luster. Its inner jade muscular tissue contents have semi-boiled rice phenomena existing in the natural ancient archaic old jades. Nevertheless the jades those were carved in Ming Dynasty, Qing Dynasty, and Modern China have no such phenomena. It looks like foggy translucent due to oily mutton fat appearance, while white jade looks different in this respect. Its oily white shining luster is seen with slight yellow light. It's oily and solid, translucent and clean, white and without cracks, just like solidified sheep mutton fat. Its skin has no deceiving glass light, thus can be slightly varied after the long-term wear attached to human skin by its owner.
此西元前206年至西元25年中國西漢朝時期的古羊脂白玉雕美麗藝術品, 其雕刻仍然甚為原始! 並非是使用現代的機械工具, 而是利用中國古代的 "手工透空圓雕法". 此 "古羊脂白玉透空圓雕漢朝皇室用勾連雲紋龍形珮" 之雕琢厚實, 簡練, 流暢, 其陰線花式勾連雲紋與雙平行線紋皆為中國西漢朝時期的常用玉雕技法與紋飾, 且羊脂白玉為中國古代皇帝家族之特權專用玉, 而此工藝品之玉皮上, 亦具備有非常清楚與明顯的中國古老羊脂白玉黃土微沁色, 故為真正.
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.

"羊脂白玉" 為中國漢朝時期玉中寶石級極品, 但現代人卻從未見過, 為漢朝皇帝家族專用玉, 存世極為稀少, 亦極為罕見. 此玉色若羊脂, 具油脂性光澤, 玉之肌裡有天然古玉的飯滲現象, 而明清及現代玉則無. 因水頭足而呈霧狀之半透明狀, 此點與白玉略有不同. 油脂光澤白色中則透出微微黃色, 溫潤堅密, 瑩透純淨, 潔白無瑕, 如同凝脂. 玉皮無玻璃賊光, 皮色可因主人之長期盤玉而起微微變化.
This fine work of art (H 4.4 x W 6.7 x D 1 cm 56 g) was carved with the same "Archaic Sheep-Fat-Oily Mutton Fat White Jade" as that used in "Western Han Queen's Seal" (H 2 x W 2.8 x D 2.8 cm 33 grams ) collected by Shaanxi History Museum, Shaanxi Province, China.
Even if the "Archaic Sheep-Fat-Oily White Jade" (also named as "Archaic Mutton Fat White Jade") has been buried in the water and earth for more than 2000 years, it is only slightly soaked in skin parts and still the same smooth, shiny, oily as before due to its solid and dense quality. This is its very precious value never to be broken over thousands of years and the main reason why it is classified as gem class valuable precious stone. The "Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Western Han Queen's Seal" (Weight 33 g) collected by Shaanxi History Museum, Shaanxi Province, China, and this "Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Western Han Dynasty Linking Clouds Royal Dragon Pendant", both have been buried in the water and earth for more than 2000 years, but they are only slightly soaked in skin parts and still the same smooth, shiny, oily as before due to its solid and dense quality. This proves their very precious value never to be broken over thousands of years and the main reason why the works of art carved by Sheep-Fat-Oily Mutton Fat White Jade have been always classified as gem class valuable national treasures.
This work of art has incidentally been soaked in its tail skin part to become "dark brown". Thus it's also a very beautiful jade carved work of art with rather rare "Wonderful and Amazing Soakage - An Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Lovely Sheep Horn Dragon with Dark Brown Tail" existing in the world nowadays.
The reasons why the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” is classified as gem class valuable precious stone and the works of art carved by this jade have been always classified as gem class valuable national treasures are as follows:
(1) Never to be destroyed in the water and earth even buried for thousands of years: The hardness, solidness and firmness of the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” are better than steel, iron, and other kinds of jades. The discovered ones prove that even if having been buried in the water and earth for 2000 years, they are still the same smooth, shiny, oily as before with the same sheep fatlike oily luster as their original carvings, and never to be destroyed. These jades are really the best research and development objects of the material engineering science in the world.
(2) The beautiful characteristic semi-translucent nature shown like the changeable skin color of a lizard: Due to their natural semi-translucent character, once these jades are placed in front of backgrounds of different colors, the gorgeous colors shown by these jades are to be changed accordingly. Thus they are amazingly beautiful!
(3) Scarcity of discovery, dense and tiny cubic volume, nevertheless bigger than diamond, can be carved into fine works of art by ancient Chinese: The formation of the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” is under the same pressure coefficient from the crust of the earth as diamond on account of its solid and dense characters. Thus these jades are scarce and rare with dense and tiny cubic volume. Nevertheless they are still bigger than diamonds. Diamonds are not to be carved into fine works of art in different shapes full of variety by mankind, but these jades can be done. These archaic jades prove that even 2000 years ago, ancient Chinese had already developed the high technology to carve these extremely firm and hard “Archaic Sheep-Fat-Oily Mutton Fat White Jades” into fine and beautiful works of art for the Imperial Emperor to appreciate the art.
(4) The Legend and Myth Stories of Jade Carved Works of Art done for thousands of years are always forever and forever to Chinese, and never to be ended: In ancient society of China, lots of Legend and Myth Stories of Jade Carved Works of Art done for thousands of years, such as their protections upon their owner mater's body good health, their collections of good lucks and fortunes in behalf of their owner master,...etc, have generally provoked Chinese directly to take great interests in the Jade Carved Works of Art owned by the ancient imperial royal family of the Emperor thousands of years ago. This is the so-called Chinese psychological historical affections upon these Archaic Ancient Old Jades that have been done for thousands of years.
(5) Due to their extremely valuable prices, nevertheless in very tiny cubic volume, easy to be carried by human body in transit and easy to be concealed or hidden from enemies, not to be damaged over thousands of years, have made these Jade Carved Works of Art to become the best haven investment commodity in ancient China: In ancient China, the First Emperor of Qin Dynasty ever tried to exchange his 15 cities for a famous Jade carved work of art called He-Shi-Bi from the Nation Zhao in the historical record. This proves that the Archaic Ancient Old Jades that have been done for thousands of years have been always the substitutes for the most valuable and expensive, high end, strongest currency since the ancient times until now. They are shaped into very tiny cubic volume, easy to be carried by human body in transit and easy to be concealed or hidden from enemies, as well as not to be damaged over thousands of years. Thus these inherent natural features have benefited these Jade Carved Works of Art that have been done for thousands of years to become the best haven investment commodity in ancient China, no matter when it was in peaceful or warring times.
此精美工藝品 (高 4.4 x 寬 6.7 x 厚 1 公分 cm 56 公克 g) 係使用與中國陝西省陜西歷史博物館的館藏 "西漢皇后之璽" (高 2 x 寬 2.8 x 厚 2.8 公分 cm 33 公克 g) 相同之 "羊脂白玉" 所刻成.
"羊脂白玉" 縱使被浸泡在水土中保持 2000 餘年, 因其質地硬密, 也只是皮色微沁, 卻溫潤如初, 這就是它千年不壞的可貴之處, 也正是它屬寶石級的貴重價值所在之主要原因. 中國陝西省陜西歷史博物館的館藏 "古羊脂白玉雕西漢皇后之璽 (重 33 g 公克)" 與此件 "古羊脂白玉透空圓雕漢朝皇室用勾連雲紋龍形珮 (重 56 g 公克)" 皆為入土 2000 餘年, 因質地硬密, 也只是皮色微沁, 卻溫潤如初, 充分證明羊脂白玉千年不壞的可貴之處及其藝術品皆被當作是寶石級珍貴國寶的主要原因.
而此精美工藝品剛好在 "龍尾端" 之一部皮色微沁成 "深棕色", 成為現今存世極為罕見的 "巧沁色 - 羊脂白色的可愛玉羊角龍帶著深棕色的龍尾端" 玉製品.
古羊脂白玉雕藝術品皆被當作是寶石級珍貴國寶的主要原因為:
(1) 入土千年不毀壞: 古羊脂白玉之堅硬及強韌度遠勝過鋼鐵與其他類玉種, 出土古羊脂白玉證明其入土 2000 餘年卻仍然溫潤如初, 油脂光澤如故, 並未毀壞, 是世界上材料工程科學的最佳研究開發目標.
(2) 如蜥蝪變色龍般的半透明天然美麗特質: 因為古羊脂白玉是天然半透明的, 所以當背景色系變化時, 古羊脂白玉所顯示的天然絢麗色彩亦隨著變化, 令人驚歎不已.
(3) 數量稀少, 體積不大, 卻比鑽石大, 可供古代中國人雕琢成精美藝術品: 古羊脂白玉之形成, 因質地硬密, 其所承受之地殼壓力係數係相當於鑽石, 因此數量稀少, 體積不大. 但鑽石無法如玉石般供人類雕琢成各式各樣形狀不同之精美藝術品, 而古羊脂白玉證明 2000 年前的中國人已經具備有高度工藝技術將堅硬強軔無比的古羊脂白玉雕琢成精美藝術品供皇帝鑑賞.
(4) 中國人對於 "千年古玉" 的神話與傳奇故事為歷久彌新, 永不毀滅: 中國古代社會裡傳說中的各種 "千年古玉" 的神話與傳奇故事, 包含保護主人的身體健康與帶來主人的好心情及好運勢等等, 皆直接促使中國人對於古代皇室家族所持有的 "千年古玉" 為特別地情有所鍾, 此即為中國人對 "千年古玉" 的迷思心理情結.
(5) 因價值特別昂貴, 卻體積很小, 便於貼身攜帶及藏匿, 不易毀壞, 為古代之最佳保值投資性避風港商品: 中國古代秦國秦始皇曾有欲以15座城市交換趙國之和氏璧玉器藝術品的歷史記錄. 足以證明, 千年古玉藝術品自古至今即為雲端強勢昂貴鉅量貨幣的代替品. 因體積甚小, 便於隨身攜帶與藏匿, 他人不易察覺, 卻又千年不易毀損, 故為古代不論是平時或是戰亂時期的最佳保值投資性避風港商品.
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A Carved Archaic Sheep-Fat-Oily Mutton Fat White Jade "Linking Clouds" Emperor's Extremely Good Auspices Presented by Dragon and Phoenix Pendant 206 B.C. - A.D. 25 Western Han Dynasty China Diameter 7 x Depth 0.6 cm 54 g
西元前206年至西元25年中國西漢朝時期 "高古羊脂白玉透雕漢朝皇帝用勾連雲紋龍鳳呈祥珮"
Size and Weight (尺寸及重量): 環珮直徑 Diameter 7 x 厚 Depth 0.6 cm 54 公克 g
年代: 西元前206年至西元25年中國西漢朝時期
Authenticity:
Sheep-Fat-Oily Mutton Fat White Jade was the only privilege of ancient Emperors' family. "Extremely Good Auspices Presented by Dragon and Phoenix Pendant" was to carve both dragon and phoenix on the same jade carved work of art that is to be carried upon personal body. It represents the most superior, prosperous and fortunate auspices and best luck in the world. Therefore an archaic Sheep-Fat-Oily Mutton Fat White Jade carved Extremely Good Auspices Presented by Dragon and Phoenix Pendant made in Western Han Dynasty China must have been carried by the Emperor himself.
The carvings of this beautiful work of art in Western Han Dynasty China by Archaic Mutton Fat White Jade (Ancient Old Jade) were still quite primitive and not made by modern machine tools, but using the popular "Handmade Penetrating Carvings" in ancient China. The carving techniques of this work of art were made simply, clearly, skillfully, and smoothly upon a thick and solid jade, and the incised feminine totem lines of linking clouds in flowers, the short parallel lines as thin as hair appeared at the beard of dragon, inclined square frames on the wing, feet of dragon and phoenix, together with double parallel lines on feet of dragon as well as phoenix were all the popular jade carving techniques and decoration totems used in Western Han Dynasty China.
This work of art has also very clear and apparent slight yellow loess dot-soakage color in the skin as the aged Sheep-Fat-Oily Mutton Fat White Jade in ancient China. Thus it’s "True Authenticity"!
Jades are beautiful semi-translucent precious stones that are denser than other stones and characterized by shiny, smooth, heavy surfaces and distinct sounds when knocked on. The beautiful characteristics of this work of art have lead to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Jade (Ancient Old Jade) grows in value as it ages.
"Archaic Sheep-Fat-Oily Mutton Fat White Jade" was the gem class jade of best quality in Han Dynasty China. But the modern people have never seen it before. It was the only privilege of ancient Emperors' family in Han Dynasty China. The work of art made by this jade was left scarcely and has been seen rarely in this world. Its color is as that of sheep fat and has oily shining luster. Its inner jade muscular tissue contents have semi-boiled rice phenomena existing in the natural ancient archaic old jades. Nevertheless the jades those were carved in Ming Dynasty, Qing Dynasty, and Modern China have no such phenomena. It looks like foggy translucent due to oily mutton fat appearance, while white jade looks different in this respect. Its oily white shining luster is seen with slight yellow light. It's oily and solid, translucent and clean, white and without cracks, just like solidified sheep mutton fat. Its skin has no deceiving glass light, thus can be slightly varied after the long-term wear attached to human skin by its owner.
羊脂白玉為中國古代皇帝家族之特權專用玉. "龍鳳呈祥珮" 係將龍與鳳雕琢在同一件隨身攜帶的玉器藝術品上, 代表世上的最高祥瑞榮譽吉兆與繁榮好運. 因此, 中國西漢朝時期之高古羊脂白玉雕 "龍鳳呈祥珮" 必然為漢朝皇帝自己所隨身佩帶.
此西元前206年至西元25年中國西漢朝時期的高古羊脂白玉雕美麗藝術品, 其雕刻仍然甚為原始! 並非是使用現代的機械工具, 而是利用中國古代的 "手工透雕法". 此 "高古羊脂白玉透雕漢朝皇帝用勾連雲紋龍鳳呈祥珮" 之雕琢厚實, 簡練, 流暢, 其陰線花式勾連雲紋, 龍鬍鬚處之短曲平行線紋游絲毛雕, 龍鳳翼部, 腿部之斜格紋, 與龍鳳足部之雙平行線紋皆為中國西漢朝時期的常用玉雕技法與紋飾, 而此工藝品之玉皮上, 亦具備有非常清楚與明顯的中國古老羊脂白玉黃土點狀微沁色, 故為真正.
"玉" 為美麗半透光的貴重石頭. 具有表面光亮平滑, 手感沉重, 其密度與比重皆較其它石頭為大, 輕敲時聲音清脆悅耳的特性. 此件藝術品的美麗特質, 使它的價值適合作為一件奇妙的裝飾用紀念品,或是一件投資性的大收藏品. 因為 "古玉雕" 的價值,事實上就如同它的古老年齡一般,年紀愈老,價值愈增.

"羊脂白玉" 為中國漢朝時期玉中寶石級極品, 但現代人卻從未見過, 為漢朝皇帝家族專用玉, 存世極為稀少, 亦極為罕見. 此玉色若羊脂, 具油脂性光澤, 玉之肌裡有天然古玉的飯滲現象, 而明清及現代玉則無. 因水頭足而呈霧狀之半透明狀, 此點與白玉略有不同. 油脂光澤白色中則透出微微黃色, 溫潤堅密, 瑩透純淨, 潔白無瑕, 如同凝脂. 玉皮無玻璃賊光, 皮色可因主人之長期盤玉而起微微變化.
Even if the "Archaic Sheep-Fat-Oily White Jade" (also named as "Archaic Mutton Fat White Jade") has been buried in the water and earth for more than 2000 years, it is only slightly soaked in skin parts and still the same smooth, shiny, oily as before due to its solid and dense quality. This is its very precious value never to be broken over thousands of years and the main reason why it is classified as gem class valuable precious stone. The "Archaic Sheep-Fat-Oily Mutton Fat White Jade Carved Western Han Queen's Seal" (Weight 33 g) collected by Shaanxi History Museum, Shaanxi Province, China, and this "Archaic Sheep-Fat-Oily Mutton Fat White Jade Linking Clouds Emperor's Extremely Good Auspices Presented by Dragon and Phoenix Pendant" (Weight 54 g), both have been buried in the water and earth for more than 2000 years, but they are only slightly soaked in skin parts and still the same smooth, shiny, oily as before due to its solid and dense quality. This proves their very precious value never to be broken over thousands of years and the main reason why the works of art carved by Sheep-Fat-Oily Mutton Fat White Jade have been always classified as gem class valuable national treasures.
The reasons why the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” is classified as gem class valuable precious stone and the works of art carved by this jade have been always classified as gem class valuable national treasures are as follows:
(1) Never to be destroyed in the water and earth even buried for thousands of years: The hardness, solidness and firmness of the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” are better than steel, iron, and other kinds of jades. The discovered ones prove that even if having been buried in the water and earth for 2000 years, they are still the same smooth, shiny, oily as before with the same sheep fatlike oily luster as their original carvings, and never to be destroyed. These jades are really the best research and development objects of the material engineering science in the world.
(2) The beautiful characteristic semi-translucent nature shown like the changeable skin color of a lizard: Due to their natural semi-translucent character, once these jades are placed in front of backgrounds of different colors, the gorgeous colors shown by these jades are to be changed accordingly. Thus they are amazingly beautiful!
(3) Scarcity of discovery, dense and tiny cubic volume, nevertheless bigger than diamond, can be carved into fine works of art by ancient Chinese: The formation of the “Archaic Sheep-Fat-Oily Mutton Fat White Jade” is under the same pressure coefficient from the crust of the earth as diamond on account of its solid and dense characters. Thus these jades are scarce and rare with dense and tiny cubic volume. Nevertheless they are still bigger than diamonds. Diamonds are not to be carved into fine works of art in different shapes full of variety by mankind, but these jades can be done. These archaic jades prove that even 2000 years ago, ancient Chinese had already developed the high technology to carve these extremely firm and hard “Archaic Sheep-Fat-Oily Mutton Fat White Jades” into fine and beautiful works of art for the Imperial Emperor to appreciate the art.
(4) The Legend and Myth Stories of Jade Carved Works of Art done for thousands of years are always forever and forever to Chinese, and never to be ended: In ancient society of China, lots of Legend and Myth Stories of Jade Carved Works of Art done for thousands of years, such as their protections upon their owner mater's body good health, their collections of good lucks and fortunes in behalf of their owner master,...etc, have generally provoked Chinese directly to take great interests in the Jade Carved Works of Art owned by the ancient imperial royal family of the Emperor thousands of years ago. This is the so-called Chinese psychological historical affections upon these Archaic Ancient Old Jades that have been done for thousands of years.
(5) Due to their extremely valuable prices, nevertheless in very tiny cubic volume, easy to be carried by human body in transit and easy to be concealed or hidden from enemies, not to be damaged over thousands of years, have made these Jade Carved Works of Art to become the best haven investment commodity in ancient China: In ancient China, the First Emperor of Qin Dynasty ever tried to exchange his 15 cities for a famous Jade carved work of art called He-Shi-Bi from the Nation Zhao in the historical record. This proves that the Archaic Ancient Old Jades that have been done for thousands of years have been always the substitutes for the most valuable and expensive, high end, strongest currency since the ancient times until now. They are shaped into very tiny cubic volume, easy to be carried by human body in transit and easy to be concealed or hidden from enemies, as well as not to be damaged over thousands of years. Thus these inherent natural features have benefited these Jade Carved Works of Art that have been done for thousands of years to become the best haven investment commodity in ancient China, no matter when it was in peaceful or warring times.
"羊脂白玉" 縱使被浸泡在水土中保持 2000 餘年, 因其質地硬密, 也只是皮色微沁, 卻溫潤如初, 這就是它千年不壞的可貴之處, 也正是它屬寶石級的貴重價值所在之主要原因. 中國陝西省陜西歷史博物館的館藏 "古羊脂白玉雕西漢皇后之璽 (重 33 g 公克)" 與此件 "高古羊脂白玉透雕漢朝皇帝用勾連雲紋龍鳳呈祥珮 (重 54 g 公克) " 皆為入土 2000 餘年, 因質地硬密, 也只是皮色微沁, 卻溫潤如初, 充分證明羊脂白玉千年不壞的可貴之處及其藝術品皆被當作是寶石級珍貴國寶的主要原因.
古羊脂白玉雕藝術品皆被當作是寶石級珍貴國寶的主要原因為:
(1) 入土千年不毀壞: 古羊脂白玉之堅硬及強韌度遠勝過鋼鐵與其他類玉種, 出土古羊脂白玉證明其入土 2000 餘年卻仍然溫潤如初, 油脂光澤如故, 並未毀壞, 是世界上材料工程科學的最佳研究開發目標.
(2) 如蜥蝪變色龍般的半透明天然美麗特質: 因為古羊脂白玉是天然半透明的, 所以當背景色系變化時, 古羊脂白玉所顯示的天然絢麗色彩亦隨著變化, 令人驚歎不已.
(3) 數量稀少, 體積不大, 卻比鑽石大, 可供古代中國人雕琢成精美藝術品: 古羊脂白玉之形成, 因質地硬密, 其所承受之地殼壓力係數係相當於鑽石, 因此數量稀少, 體積不大. 但鑽石無法如玉石般供人類雕琢成各式各樣形狀不同之精美藝術品, 而古羊脂白玉證明 2000 年前的中國人已經具備有高度工藝技術將堅硬強軔無比的古羊脂白玉雕琢成精美藝術品供皇帝鑑賞.
(4) 中國人對於 "千年古玉" 的神話與傳奇故事為歷久彌新, 永不毀滅: 中國古代社會裡傳說中的各種 "千年古玉" 的神話與傳奇故事, 包含保護主人的身體健康與帶來主人的好心情及好運勢等等, 皆直接促使中國人對於古代皇室家族所持有的 "千年古玉" 為特別地情有所鍾, 此即為中國人對 "千年古玉" 的迷思心理情結.
(5) 因價值特別昂貴, 卻體積很小, 便於貼身攜帶及藏匿, 不易毀壞, 為古代之最佳保值投資性避風港商品: 中國古代秦國秦始皇曾有欲以15座城市交換趙國之和氏璧玉器藝術品的歷史記錄. 足以證明, 千年古玉藝術品自古至今即為雲端強勢昂貴鉅量貨幣的代替品. 因體積甚小, 便於隨身攜帶與藏匿, 他人不易察覺, 卻又千年不易毀損, 故為古代不論是平時或是戰亂時期的最佳保值投資性避風港商品.
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Sunday, April 29, 2012