Friday, July 20, 2012

Painting Techniques of Zhang Daqian (Chang Dai-chien) 張大千 Zhang Daqian 张大千的畫法



Painting Techniques of Zhang Daqian (Chang Dai-chien) 張大千 Zhang Daqian 张大千的畫法

Painting Techniques of Zhang Daqian (Chang Dai-chien)


Zhang Daqian


Zhang Daqian (1899 – 1983 Chang Dai-chien) is a renowned Chinese painter. The total auction turnover revenues of his paintings in 2011 were US 554,537,029 dollars (US 314,944,104 dollars in 2010) and thus became the top number one champion artist by auction revenue of the world in 2011.


Painting techniques


The Painting Techniques of Zhang Daqian (Chang Dai-chien) can be grouped into the following categories:


（1） Very Fine and Delicate Drawings of Lotus and other Flowers, Grasses and Trees.

（2） Impressionistic Paintings of Lotus and other Flowers, Grasses and Trees.

（3） Golden Outlined Drawings of Red Lotus.

（4） Very Fine and Delicate Drawings of Figures, Animals, Birds, and Fowls.

（5） Paintings of Gentlemen.

（6） Paintings of Beautiful Ladies.

（7） Arts of Dunhuang Caves (a treasure house of Buddhist scriptures, paintings and statues) and related religious paintings.

（8） Poetic Paintings derived from Ancient Poetry of China.

（9） Painting After or Imitating the Renowned Landscape Paintings of Chinese Ancient Painting Masters from Tang Dynasty to Qing Dynasty.

（10） Famous Mountain, Lake and River Sceneries in China.

（11） Very Fine and Delicate Drawings of Landscapes.

（12） To add the Final Finishing Splashed Parts and Refined Brushed painting technique created at the early splashed painting period of Zhang Daqian.

（13） Impressionistic Rough Splashed and Refined Brushed painting technique created in mid splashed painting period of Zhang Daqian.

（14） Expressionistic Rough Splashed and Abstract painting (Abstract art) technique created from the mid to late splashed painting period of Zhang Daqian.

（15） Refined Splashed and Refined Brushed painting technique created at the late splashed painting period of Zhang Daqian.


His Refined Splashed and Refined Brushed Painting Technique


The Refined Splashed and Refined Brushed painting technique used by Zhang Daqian on his renowned paintings was created by him at his late splashed painting period. Although some parts were still painted subordinately with Chinese Traditional painting techniques and styles such as Very Fine and Delicate Drawings, Impressionistic Painting, Outlined Drawing, Colors 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 these painting finished by this method. Painter has to control the splashed color dyeing conditions on paper just as holding a fine brush on hand. He has to splash (brush) it as precisely as his painting will in mind. Painter also has to understand even the splashed speed and degree of the paper material so used very well. A little minor mistake happened upon splashed painting is not allowed. He can not just paint it randomly by finishing it roughly.  If a painter had no such a wonderful splashed ink and colored painting experience for at least more than decades, he can not do it very well. It's so difficult and impossible for other painters to copy or imitate after it. Otherwise the copying painter or imitating painter will just waste his working papers and expensive color pigments for sure. The painting works of art done by this kind of 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 as gifts to promote the painting reputation of Zhang Daqian and had been always locked into deep cellar of Governmental Residency.


Reference Paintings of Zhang Daqian


（1） One Flower in One World White Lotus and attached calligraphy, by Zhang Daqian dated Mar.1978.

（2） After the Rising and Warm Green Mountains by Huang Gongwang with Calligraphy, by Zhang Daqian dated 1947.

（3） Han Changli Composed a Lyric Poem Derived from Chu Dynasty, by Zhang Daqian dated 1979.

（4） A Bird’s-eye View on Taiwan Cross-Island Road near Herhuan (Central Cross-Island Highway), splendid golden-outlined landscape splashed painting, by Zhang Daqian dated 1978.

（5） 18 Luohan Disciples Appointed to Witness to Buddhist Truth, by Zhang Daqian dated 1936.

（6） Recalling the Beautiful Scenery of Mountain Huang in China, by Zhang Daqian dated 1979.

（7） Scholars Appreciating Maples, by Zhang Daqian dated 1979.

（8） Lady with a Fan, Bamboos, Parrot Hairpin, in Tang’s Clothes (Tang Dynasty), by Zhang Daqian dated 1980.

（9） The Dreamland of Mountain Qingcheng in Heavenly Place, by Zhang Daqian dated 1981.

（10） The Heavenly Place in Mankind World, by Zhang Daqian dated 1982.

（11） Splashed Landscape Fuchun Mountain, by Zhang Daqian dated 1978.

（12） Sun is Rising and Darkness is Fallen allover the Mountain with Calligraphy, by Zhang Daqian dated 1979.

（13） Happy Birthday to Chairman Chang Kai-shek of the Government, by Zhang Daqian dated 1944, preface inscribed by Yu Youren.

（14） Spring Cloud and Morning Mist, by Zhang Daqian dated 1979.

（15） Painting the Elder Bintourlu after Technique of Song Dynasty, by Zhang Daqian dated 1946.

（16） Beauty in Red Hair-kerchief, Wooden Shoes, White Robe, Bamboos, by Zhang Daqian dated 1980.

（17） Black Cloud Covering on Top of Mt. Emei among Blue Cloud, by Zhang Daqian dated 1979.

（18） Listening to the Springs below the Mountains, splendid golden-outlined splashed color landscape, hand scroll, preface self-inscribed, by Zhang Daqian dated 1980.

（19） Waterfall in a Quiet Mountain Valley with Calligraphy, by Zhang Daqian dated 1980.

（20） Golden Outlined Red Lotus and a Flying Bird, by Zhang Daqian dated 1978.

（21） Dwelling in the Mountain by the Lake Wuting, by Zhang Daqian dated 1967.

（22） Impressionistic Red Lotus, by Zhang Daqian.

（23） Splashed Colour Landscape of Beautiful Mountain Qingcheng, by Zhang Daqian dated 1973.

（24） Mountain Emei May Be Crossed On Top, by Zhang Daqian dated 1971.

（25） Spring Cloud and Morning Mist, by Zhang Daqian dated 1965.


Reference

* Painting Techniques of Zhang Daqian (Chang Dai-chien) in Chinese language, Encyclopedia of Taiwan, Ministry of Culture, Taiwan, R.O.C.




張大千 Zhang Daqian 张大千的畫法

張大千 Zhang Daqian 张大千


張大千 Zhang Daqian 张大千 (1899 – 1983 Chang Dai-chien) 是一位知名的中國畫家. 在2011年其名畫作品的全世界總拍賣收入金額高達美金 US 554, 537, 029 元 ( 在2010年為美金US 314, 944, 104 元 ) 而躍居2011年全世界總拍賣收入的冠軍第一名寶座地位.


張大千 (Zhang Daqian / Chang Dai-chien) 先生的畫法可歸類成下面數大類︰
 

（1）工筆荷花及草木類。

（2）寫意荷花及草木類。

（3）鈎金紅荷。

（4）工筆人物及動物禽鳥圖。

（5）高仕圖。

（6）仕女圖。

（7）敦煌石壁及宗教畫作。

（8）古人詩意圖。

（9）仿、擬古代各大名家之山水圖名作。

（10）中國名山名水勝景圖。

（11）工筆山水圖。

（12）開創於早期的 "畫龍點睛(點景)式" "潑墨" 及 "潑彩" 畫法。

（13）開創於中期的 "粗潑細筆(寫意)式" "潑墨" 及 "潑彩" 畫法。

（14）開創於中晚期的 "粗潑抽象式" "潑墨" 及 "潑彩" 畫法。

（15）開創於晚期的 "細潑細筆式" "潑彩" 畫法。
 

而張大千先生開創於晚期的 "細潑細筆式潑彩" 畫法， 其於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。 這種畫法非常地困難，因為畫家必須如同手握 "細筆" 一般地控制住 "潑彩渲染度"， 不論是在畫中色彩的調合度與其筆意，皆必須完全 "意到即筆到(潑到)" 般地恰到好處， 絲毫不容許有任何的潑彩渲染差錯， 連作畫用紙的渲染度亦必須是由畫家拿捏地非常精準， 完全無法 "既然粗略隨意潑之， 即大概屈就以成之。"。 因為此種畫法非常耗時又耗工，沒有畫家本人自己數十年的 "潑墨" 及 "潑彩" 畫功及足夠經驗， 他人根本就是無法臨摹仿擬並加以潑畫之，否則只是糟蹋浪費自己的畫紙與昂貴的礦石顏料而已。 因此成品並不多， 傳世及見世作品亦不多， 張大千先生都是以這種畫作成品當作交際贈送予國民黨黨國元老們欣賞， 而被鎖入深宮。


參考張大千畫作︰

（1）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。

（2）After the Rising and Warm Green Mountains by Huang Gongwang with Calligraphy, by Zhang Daqian dated 1947. 張大千1947年作 "擬元代黃公望浮巒暖翠山水圖及書法立軸" 橫幅設色紙本鏡片。

（3）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。

（4）A Bird’s-eye View on Taiwan Cross-Island Road near Herhuan, splendid golden-outlined 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" 橫幅設色紙本鏡片。

（5）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。

（6）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" 橫幅設色紙本鏡片。

（7）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。

（8）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。

（9）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" 直幅設色紙本鏡片。

（10）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" 直幅設色紙本鏡片。

（11）Splashed Landscape Fuchun Mountain, by Zhang Daqian dated 1978. 張大千1978年作 "富春山居潑彩山水圖" 橫幅設色紙本鏡片。

（12）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" 橫幅設色紙本鏡片。

（13）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。

（14）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。

（15）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" 橫幅設色紙本鏡片。

（16）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" 紙本立軸。

（17）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" 設色紙本立軸。

（18）Listening to the Springs below the Mountains, splendid golden-outlined splashed color landscape handscroll, preface self-inscribed, by Zhang Daqian dated 1980. 張大千1980年作 "山水生風聽泉入山麓金碧潑彩山水圖" 手卷。

（19）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" 直幅設色紙本鏡片。

（20）Golden Outlined 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。

（21）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。

（22）Impressionistic Red Lotus, by Zhang Daqian. 張大千作 "寫意紅荷圖" 橫幅設色紙本鏡框。

（23）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" 橫幅設色紙本鏡片。

（24）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" 橫幅設色紙本鏡片。

（25）Spring Cloud and Morning Mist, by Zhang Daqian dated 1965. 張大千1965年作 "春雲曉靄潑彩山水圖" 潑彩設色絹本鏡片。

參考資料

* 張大千的畫法 Painting Techniques of Zhang Daqian (Chang Dai-chien), 台灣大百科全書 Encyclopedia of Taiwan, 文化部 Ministry of Culture, 台灣 Taiwan, 中華民國 R.O.C.




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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



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 羊脂白玉 Mutton Fat White Jade 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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Mutton Fat White Jade 羊脂白玉



Mutton Fat White Jade 羊脂白玉


Mutton Fat White Jade


Mutton Fat White Jade is also called Mutton Fat Oily Luster White Jade or Sheet-Fat-Oily White Jade by some collectors.


In ancient China, mutton fat white jade was called Mutton Fat Jade only. Modern people are used to take pure white “White Jade” for granted as Mutton Fat White Jade, thus White has been always inserted in the Mutton Fat Jade by modern collectors.


What is it?


We know that jade is a beautiful semi-translucent precious stone that is 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 led to its value as a wonderful decorative keepsake, as well as a great collection for investment, due to the fact that the Archaic Ancient Old Jade grows in value as it ages.

Mutton Fat White Jades can be further classified by archaic ancient and modern ones. Archaic ancient ones are those carved in Han Dynasty China from 206 B.C. to A.D. 220 and owned by the Han Emperor’s family. Then it was not allowed for people not in the imperial family to own such excellent jades in private. Modern ones are those discovered and carved after Qing Dynasty China from A.D. 1644 until nowadays.

There are two major differences between archaic ancient and modern Mutton Fat White Jades. One major difference is that archaic ancient Mutton Fat White Jades have semi-boiled rice phenomena in the jades’ muscular tissues nevertheless modern ones have no such phenomena.


Another difference is that archaic ancient Mutton Fat White Jades have been buried in the earth for more than 2000 years and have been confirmed and tested the same oily in luster and smooth in surface as carved before after such a severe thousands years of burying underground, while modern ones have not been tested in the earth for 2000 years yet. The quality of modern ones is still unknown to us.


People are used to take pure white jades with oily luster as modern Mutton Fat White Jades, and it’s really very difficult to decide it’s true or not. We can’t bury these pure white jades with oily luster in the earth for another 2000 years to examine if they are qualified not to be destroyed as archaic ancient ones. We have no governmental standards to compare if they are true Mutton Fat White Jades or not, as until so far there are still no such standards published by related governmental organizations. Thus everybody has a different measuring ruler in his own mind and modern Mutton Fat White Jades have become so popular almost everywhere in the world for you to examine them freely with volume. Since there are no standards, there are no true criteria, neither. People has to judge by his own preference.


Besides archaic ancient Mutton Fat White Jades were carved with extremely smooth “His Imperial Majesty Dignity of Han Emperor and an Appearance of King” by the excellent imperial jade carving master in Western Han Dynasty China for certain and modern Mutton Fat White Jades are absolutely not to be done and copied by modern carvings in this respect.


A Carved Archaic Sheep-Fat-Oily Mutton Fat White Jade Linking Clouds Royal Dragon Pendant was carved with extremely smooth “His Imperial Majesty Dignity of Han Emperor's Family and an Appearance of King's Family” by the excellent imperial jade carving master in Western Han Dynasty China.


A Carved Archaic Sheep-Fat-Oily Mutton Fat White Jade Linking Clouds Emperor's Extremely Good Auspices Presented by Dragon and Phoenix Pendant was also carved with extremely smooth “His Imperial Majesty Dignity of Han Emperor and an Appearance of King” by the excellent imperial jade carving master in Western Han Dynasty China.


History


Among the Archaic Ancient Old Jades of various kinds, the Archaic Ancient Mutton Fat White Jade was a gem class jade of the best quality ever found in Han Dynasty China 206 B.C. - A.D. 25. Since it was so recorded in the history 2000 years ago, modern people have never seen it nowadays. It was the only privilege jade of ancient Emperors' family in Han Dynasty China.


Used in art


The work of art made by this kind of jade was left so scarcely and has been seen rarely in this world. Thus modern people can only use personal imaginations and the data searched from internet to guess what it was and try to figure out what it would have been looked like. Its color is as that of fresh sheep fat just cut and has oily shining luster. Its inner jade muscular tissue contents have semi-boiled rice phenomena commonly 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.


Appearance


It looks like foggy translucent due to its sheep Mutton Fatlike Oily Luster 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 the solidified sheep oily 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, while the jade that has been manually handled with deceiving glass light in its appearance has no such a function of varied skin colors any more.


The archaic works of art done by this kind of jade are rare.


A Carved Archaic Sheep-Fat-Oily 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 grams) was carved with the same "Archaic Mutton Fat Oily 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.


Another typical example is 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 (Size: Diameter 7 x Depth 0.6 cm, Weight: 54 g).


This Archaic Sheep-Fat-Oily Mutton Fat White Jade Linking Clouds Emperor's Extremely Good Auspices Presented by Dragon and Phoenix Pendant was carved with extremely smooth “His Imperial Majesty Dignity of Han Emperor and an Appearance of King” by the excellent imperial jade carving master in Western Han Dynasty China 206 B.C. - A.D. 25.


Even if the "Archaic Mutton Fat Oily Luster 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 has the same smooth, shiny, oily luster 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 has been classified as gem class valuable precious stone.


The "Archaic Mutton Fat White Jade Carved Western Han Queen's Seal" (Weight 33 g) collected by Shaanxi History Museum, Shaanxi Province, China, and the "Archaic Sheep-Fat-Oily White Jade Carved Western Han Dynasty Linking Clouds Royal Dragon Pendant", both are rare and have been buried in the water and earth for more than 2000 years, but they are only slightly soaked in skin parts and still has the same smooth, shiny, oily luster as before due to its solid and dense quality. This proves that their very precious value never to be broken over thousands of years and the main reason why the works of art carved by Mutton Fat Oily Luster White Jade have been always classified as gem class valuable national treasures in jade market.


Wonderful and Amazing Soakage of an Archaic Ancient Mutton Fat White Jade


The "Archaic Sheep-Fat-Oily White Jade Carved Western Han Dynasty Linking Clouds Royal Dragon Pendant" 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 of Mutton Fat White Jade - An Archaic Sheep-Fat-Oily White Jade Carved Sheep Dragon with Dark Brown Tail" existing in the world nowadays.


Basic Concepts of Authenticity Examinations for Archaic Ancient Old Jades and Archaic Ancient Mutton Fat White Jades


(1) Scratch Test: Archaic Ancient Mutton Fat White Jades are firm enough to resist from Scratch Test by human finger nails.


(2) Semi-Translucence Test: Archaic Ancient Mutton Fat White Jades are semi-translucent under the light of portable flashlight.


(3) Sound Test: The sound of an Archaic Ancient Mutton Fat White jade knocked slightly on another jade is just like that from a fine musical instrument and very clear. It’s not such heavy as those sounds knocked by stones or plastic goods.


(4) Soakage Color Test: The soakage color formed in the earth for thousands of years are natural. People are used to put Archaic Ancient Mutton Fat White Jades in pure clear warm water for at least one day and one night to see if the soakage color is still remained the same as usual before to judge if it’s dyed manually. From long-term basis, the manually dyed Fakes will fade their false soakage colors into one another gradually.


(5) Age Test: The Archaic Ancient Mutton Fat White Jades must have the appearance and totems of Imperial Royal His Majesty Dignity of an Emperor or a King in Han Dynasty China. This is quite different from the modern jade carved work of art designed just for an Art purpose only.


(6) Carvings of Holes Test: The holes of Archaic Ancient Mutton Fat White Jades were not straight penetrated from one side. They were penetrated from two sides and formed a curve path gap between two holes from each side.


(7) Carvings of Lines Test: The inclined feminine lines of Archaic Ancient Mutton Fat White Jades were not carved by machine tools that make lines straight forward with two sides of line wall straight upward vertically. They were carved one side of line wall straight upward vertically, while another side of line wall plane inclined by ancient bronze jade carving wheels.


(8) Totems test: The Archaic Ancient Mutton Fat White Jades must have Jade Carving Totems used in Han dynasty to be presented to the Imperial Royal His Majesty Dignity of an Emperor or a King in Han Dynasty China.


(9) Smooth Carvings Test: The Archaic Ancient Mutton Fat White Jades were carved by imperial skillful hand-made jade carving masters and must be carved simply, clearly and smoothly upon specially selected solid fine jades. This kind of carving is not existed in modern world by machine tools and art carving artists or sculptors.


(10) Weight (Density) Test: A true experienced jade collector or dealer can easily tell the difference between an Archaic Ancient Mutton Fat White Jade and other stones by just holding this Jade in hand to feel its heavy weight of high density.


(11) Surface Test: The surface of an Archaic Ancient Mutton Fat White is very smooth and quite different from other stones. A true experienced jade collector or dealer can easily tell the difference between this Jade and other stones by just touching the surface of an Archaic Ancient Mutton Fat White jade carved work of art gently with his fingers.


(12) Color Test: A true experienced jade collector or dealer can easily tell the difference between an Archaic Ancient Mutton Fat White Jade and other stones by just examining its natural beautiful color appeared in front of human eyes.


Reasons for Archaic Ancient Mutton Fat White Jades to become Gem Class Most Valuable National Treasures


The reasons why the “Archaic Mutton Fat Oily Luster 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) Its firm character of being not to be destroyed in the water and earth even after having been buried for thousands of years: The hardness, solidness and firmness of the “Archaic Mutton Fat Oily Luster 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 have still the same smooth, shiny, oily luster as before with the same sheep fatlike oily luster as their original carvings had, and is not 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!
     
      Due to the beautiful natural characteristic semi-translucent nature shown like the changeable skin color of a lizard, once Archaic Mutton Fat White Jade is placed in front of backgrounds of six different colors, the gorgeous colors shown by this jade is to be changed accordingly.


(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 Mutton Fat Oily Luster 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 freely. 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 Mutton Fat White Jade” into fine and beautiful work 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 in 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 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 it was in peaceful or warring times.


Reference


(1) Archaic Sheep-Fat-Oily Mutton Fat White Jade carved Western Han Queen's Seal (H 2 x W 2.8 x D 2.8 cm 33 g) in Western Han Dynasty, Shaanxi History Museum, Shaanxi Province, China.

http://www.sxhm.com/web/bgscn.asp?id=6578


(2) Archaic Sheep-Fat-Oily Mutton Fat White Jade carved Dragon Pendant and Cicada (collected by Nanjing Museum) in Western Han Dynasty, Hunan Provincial Museum, Hunan Province, China.

http://www.hnmuseum.com/hnmuseum/collection/collectionWeekInfo.jsp?type=2&columnid=0120adc9a88c4028848320ac6cc70070&preid=010ca49c08a2402881c10ca495330009


(3) Mutton Fat White Jade in Chinese language, Encyclopedia of Taiwan, Ministry of Culture, Taiwan, R.O.C.

http://taiwanpedia.culture.tw/web/content?ID=100809



羊脂白玉


羊脂白玉可分成高古羊脂白玉與近現代羊脂白玉兩種。


高古羊脂白玉


高古羊脂白玉主要是指中國古代西元前206年至西元220年中國漢朝時期的皇帝家族特權專用玉， 亦為中國漢朝時期用玉中的寶石級極品，因為其質地非常硬密， 堅硬及強韌度遠遠勝過鋼鐵與其他類的玉種， 而出土的高古羊脂白玉亦證明其入土 2000 餘年卻仍然溫潤如初， 油脂光澤如故， 並未遭受毀壞，如下方三例︰


(1) 中國陝西省陜西歷史博物館的館藏 "高古羊脂白玉雕西漢皇后之璽" (1968年出土於陝西省咸陽市韓家灣狼家溝村。高 2.8 厘米，邊長 2.8 厘米，重 33 公克。)。


(2) 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” (環珮直徑 7 厘米，厚度 0.6 厘米，重 54 公克。)。


(3) 西元前206年至西元25年中國西漢朝時期 “高古羊脂白玉透空圓雕漢朝皇室用勾連雲紋龍形珮” (珮高 4.4 厘米，寬 6.7 厘米，厚度 1 厘米，重 56 公克。)。


高古羊脂白玉的存世量極為稀少， 因此一直是極為罕見。 許多人品玉、賞玉、玩玉一輩子，卻無緣接觸到真正的高古羊脂白玉。此玉色若羊脂， 具油脂性光澤， 玉之白色肌裡有天然古玉的飯滲現象， 而明清及現代玉則無。 因其水頭足而呈霧狀之天然半透明狀， 此點則與白玉的明確白色玉皮外表略有不同。油脂光澤白色中則透出微微黃色, 有點像羊脂的乳白色或微微乳黃色。玉質溫潤堅密， 瑩透純淨， 潔白無瑕， 如同凝脂，縱使入土千年不壞，仍然溫潤堅密如故。 玉皮上並無任何的玻璃賊光現像，其皮色可因主人之長期盤玉而起微微的變化。


高古羊脂白玉並非是使用現代的機械工具所雕琢, 而是利用中國古代的手工雕法。 因此高古羊脂白玉之雕琢皆為厚實，簡練， 古工流暢， 並常常刻有中國西漢朝時期所常用之陰線花式勾連雲紋圖騰， 此皆為中國西漢朝時期的慣用玉雕技法與紋飾。 而高古羊脂白玉工藝品之玉皮上， 亦往往具備有非常清楚與明顯的中國古老羊脂白玉黃土微沁色於其玉皮上，但玉肉質則因質地非常硬密而往往千年不沁，一切仍舊溫潤堅密如故。


古玉及古羊脂白玉的基本真假鑑定觀念︰


(1) 指甲刮痕測試︰古玉及古羊脂白玉之硬度足以抗拒人類指甲之任何刮傷痕跡。


(2) 半透光測試︰古玉及古羊脂白玉於手電筒燈光照射時是半透光的。


(3) 敲擊聲測試︰以一件古玉及古羊脂白玉輕輕敲擊另一件古玉及古羊脂白玉時，可發出如精良樂器般清脆悅耳的聲音，不像其他類石頭或是塑膠製品之敲擊聲那麼悶重。


(4) 沁色測試︰古玉及古羊脂白玉埋入土中數千年所產生的沁色是天然的。大家習慣將古玉及古羊脂白玉浸入清潔溫水中至少一天一夜以上，觀察其沁色是否仍然保持自然如前，藉以判斷是否為人工染色。從長期盤玉觀點而言，人工所染之色將逐漸褪去色彩而顯得不自然。


(5) 古老年代測試︰古玉及古羊脂白玉必須具備有皇家皇帝或帝王之尊貴威嚴圖騰，此點與現代純粹以藝術工藝品為目的之現代玉石雕琢工藝確實有所不同。


(6) 鑽洞技術測試︰古玉及古羊脂白玉之鑽洞技術並非是從一方以一洞直直地鑽到底；而是從兩方分別打洞而在兩洞之接觸點形成彎曲途徑的銜接縫隙接點。


(7) 陰刻線紋測試：古玉及古羊脂白玉之陰刻線紋並非是以形成線紋兩側溝壁皆是垂直向上直直往前行的現代電動手工具所刻成；其陰刻線紋是一側線紋溝壁為垂直向上，另一側線紋溝壁則是如傾斜平面般的勾撒斜刀法，主要是因為古代青銅製玉石雕琢舵輪工具所形成之故。


(8) 圖騰線紋測試︰古玉及古羊脂白玉必須具備有皇家皇帝或帝王之尊貴威嚴圖騰線紋，如龍紋、鳳紋、勾連雲紋…等皆是。


(9) 雕工熟練平滑測試︰古玉及古羊脂白玉雕工藝品是由古代皇室玉工以特選堅固玉石及熟練人工雕琢工藝技術所刻成。這種人工雕琢工藝技術在現代以電動手工具雕琢玉石的雕刻或雕塑藝術家中已經不存在。


(10) 手感沉重密度高測試︰有經驗的收藏家或經銷商，將古玉及古羊脂白玉放在手掌中，憑其手感沉重與否及密度高低便可斷出其玉石真偽。


(11) 玉皮平滑測試︰古玉及古羊脂白玉的玉皮異常平滑，與其他類石頭顯然不同。有經驗的收藏家或經銷商，以手指頭輕柔地摸一摸古玉及古羊脂白玉所雕琢的工藝品表面，便可輕易分辨出其玉石真偽。


(12) 玉色自然美麗測試︰古玉及古羊脂白玉之玉色在人類眼睛面前顯得自然而美麗，有經驗的收藏家或經銷商一看便知其玉石真假。


高古羊脂白玉雕藝術品皆被當作是寶石級珍貴寶物的主要原因為:


(1) 高古羊脂白玉之堅硬及強韌度皆為遠勝過鋼鐵與其他類玉種， 而已出土的高古羊脂白玉更是證明其入土 2000 餘年卻是仍然溫潤如初， 油脂光澤溫潤如故， 並未能毀壞， 其刻成之工藝品可千年不壞。


(2) 因為高古羊脂白玉是天然半透明的， 所以當其背景的色系調節變化時， 高古羊脂白玉所顯示的天然絢麗色彩亦隨著變化，宛如蜥蝪變色龍一般，其半透明的天然美麗特質真是令人驚歎不已。


(3) 因其質地硬密， 形成時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， 卻比鑽石大，可供古代的中國人將之雕琢成精美的藝術品供皇帝鑑賞。


(4) 中國人對於古代皇室家族所持有的 “千年古玉” 可保護主人的身體健康與帶來主人的好心情及好運勢等等的神話與傳奇故事為歷久彌新，永不毀滅。


(5) 因其價值非常昂貴， 卻是體積很小， 便於一般人的貼身攜帶及藏匿， 又千年不易毀壞， 為古代中國人的最佳祖傳家寶與保值投資性避風港商品，故古人常云︰「黃金有價，玉卻無價。」。


近現代羊脂白玉


近現代羊脂白玉則是指清代以後所新開採的羊脂白玉而言，因為沒有國家或官方機構所制定的鑑定標準值可供參考，也不可能將近現代羊脂白玉埋入地下 2000 年，等 2000 年以後再挖出來看它是否真為千年不壞。因此一般人皆以具油脂光澤、外表潔白無瑕的白玉作為羊脂白玉的代表，但是因為沒有一定的標準值，也就無法說它到底是真還是不真，各人心中自然會有一把尺。


近現代羊脂白玉與高古羊脂白玉最大的差別在於高古羊脂白玉具有古玉的飯滲現象及已經歷經過古代 2000 餘年的入土千錘百鍊嚴峻考驗，故較為具體而真實。但近現代羊脂白玉並未有古玉的飯滲現象，也尚未接受過入土 2000 餘年的嚴厲測試。因此，是否真正為「千年不壞」還仍然是個未知數。


參考資料


(1) 陝西省陜西歷史博物館館藏羊脂白玉雕西漢皇后之璽 (1968年出土於陝西省咸陽市韓家灣狼家溝村。高 2.8 厘米，邊長 2.8 厘米，重 33 公克。)。

http://www.sxhm.com/web/bgscn.asp?id=6578


(2) 湖南省博物馆 透雕动物纹玉嵌饰深入探索 汉代玉器欣赏 西汉后期 龙形玉佩 (南京博物馆藏长4. 7厘米 宽2. 8厘米 1974年江苏省盱眙县东阳四号墓出土羊脂白玉)。

http://www.hnmuseum.com/hnmuseum/collection/collectionWeekInfo.jsp?type=2&columnid=0120adc9a88c4028848320ac6cc70070&preid=010ca49c08a2402881c10ca495330009


(3) 羊脂白玉, 台灣大百科全書, 文化部, 台灣, 中華民國.

http://taiwanpedia.culture.tw/web/content?ID=100809



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台灣網路藝術美術博物館 
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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


http://taiwanwebmuseum.blogspot.com/
http://orionwebmuseum.blogspot.com/
http://orionandhsu.blogspot.com/
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 Mutton Fat White Jade 羊脂白玉 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


Auction site:


http://web.artprice.com/classifieds/decorative/list?classified%5Bidclassifiedauctionmode%5D=1&classified%5Bidclassifiedclass%5D=2&from=classifieds&idcurrencyzone=2&l=en&order=price_sorted_eur&ordertype=desc&search_label=&searchterm=Enter+a+key+word+%28work+title%2C+artist+or+gallery+name...%29

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