ORION WEB SELLING PLATFORM
ORION 網路銷售平台

Turn Web Browsing ENERGY AND TIME to BUSINESS AND MONEY
將網路瀏覽能量及時間轉變為生意與金錢

Buy Future Opportunity Reports
買未來機會報表

Solar Light Electrified Collector
太陽能光電收集器

Taiwan Made 3TB External 3.5” HDD
台灣製造 3TB 外接式3.5英吋硬碟儲存裝置







Taiwan Tea 台灣茶
Car Driver Refreshing Tea 開車提神茶
Tote Bag 大手提袋
Home Pillow 家庭枕頭
Sofa Pillow 沙發枕頭
Car Pillow 汽車枕頭







Beautiful Apparel 美麗衣服
Tote Bag 大手提袋
Home Pillow 家庭枕頭
Sofa Pillow 沙發枕頭
Car Pillow 汽車枕頭







World Art Fair and World Art Olympiad
世界藝術博覽展售會與世界藝術競賽會







Orion Art Museum and Gallery
Orion 藝術博物館與藝廊



Fine Chinese Paintings
精美中國書畫
Chinese Potteries and Ceramics
Fine Chinese Porcelain Ware
精美中國陶瓷器
Fine Chinese Bronze Ware
精美中國青銅器
Fine Chinese Jade and Jadeite carved Artifacts and Sculptures
精美中國玉製及翡翠製雕塑品
Dinosaur fossils
恐龍化石
Space Meteorites
太空隕石
Collections including those made from Century B.C. to A.D.; and Source from unearthed, unearthed-seabed, to the outer space.
收藏品年代包含從西元前至西元後;
來源從地下海床到外太空.







A Facebook public group "Fine Art to Sell"
臉書公共社群網站 "藝術精品展售"




Hello! Your beautiful works of art are invited to join a public Facebook group "Fine Art to Sell" to exhibit freely fine art for sale to buyers worldwide.

From Western Oil Paintings to Chinese Watercolor Paintings; from Europe to America via China and Africa by-passing India; from bronze, jade and Jadeite, ceramics, paintings, dinosaur fossils, sculptures, to space meteorites; from century B.C. to A.D.; from US several dollars to millions, and even priceless; from unearthed, unearthed-seabed, to the outer space, you can find many extra-ordinary works of art here in this group!

Over thirty-two thousand increasing group members, most of them are creative and professional Artists, have offered over five thousand and five hundred increasing valuable lots for your appreciation and examinations! It’s completely free to be in and free to be out as your wish and to get your knowledge of worldwide art freely!


(Over 32,000 group members and 5,500 artworks)


哈囉! 邀請您美麗的藝術作品歡迎加入臉書公共社群網站 "藝術精品展售" 以便向全世界的買家免費展示.

從西方油畫到中國水墨彩畫; 從歐洲至美洲經由中國與非洲路過印度; 從青銅器, 玉器翡翠, 瓷器, 書畫, 恐龍化石, 雕塑, 至太空隕石; 從西元前至西元後; 從數美元至數百千萬美元, 甚至無價之寶; 從地下出土, 海底床出水, 甚至於外太空, 您可在此臉書公共社群網站中找到許多特別好的藝術作品!

超過三萬二千位增加中的會員, 其中絕大部分是富有創造力強而專業的藝術作家, 已經提供了超過五千五百件增加中的名貴藝術作品供您鑑賞! 它是完全免費進入也是免費離開, 且正如您所願, 可以自由進出以取得您的全球藝術知識!



(超過32,000名會員與5,500件藝術品)



Over 1,800 photos of fine Chinese works of art including Ceramics and Paintings from large museums worldwide and Sotheby’s auctions as well as Christie’s auctions:
超過1,800在世界各大博物館及蘇富比拍賣與佳士得拍賣之精美中國瓷器及書畫藝術品圖片資料


(Over 1,800 artworks)




Mr. Orion Hsu
Orion Museum and Gallery



Email:




(Over 875,000 visitors/views/clicks 訪客點閱 with Google+)


(Over 6,276,000 visitors/views/clicks 訪客點閱 with Google+)


(Over 760,000 visitors/views/clicks 訪客點閱 with Google+)



10,000 visitors/views/clicks per day at Flickr
Flickr網站每天有10,000人次閱覽



(Over 6,600,000 visitors/views/clicks)




A 15th century Five-colored Bottle Vase and an oil painting of Dutch Fleet engaged the Taiwan Naval Battle in 1662
一個15世紀的五彩天球瓶與一幅西元1662年荷蘭艦隊參與臺灣海戰圖油畫



A five-colored bottle vase opened the European Voyage Age of Discovery
五彩天球甁開啟歐洲大航海時代


A Wucai Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Ming Dynasty (H 37 cm) and the same Jingtai Period (1450 - 1457) Ming Dynasty (H 37 cm) in the China Development Investment Corp. Taiwan
一件明朝正統年製官窯五彩歐洲使節天朝進貢人物風景紋天球瓶(高37公分)與一件台灣中華開發投資股份有限公司館藏明朝景泰年製官窯五彩三顧茅廬人物風景紋天球瓶(高37公分)



A 3 dollars of Chinese porcelain bowl from a garage sale in 2007 becomes $2.2 million in 2013
一件於2007年以3美元從一個車庫拍賣中買得的中國瓷碗在2013年變成220萬美元


A jade carved Changxingongdeng Court Oil Lamp (H 22.5 cm) and a gilt-bronze one (H 48 cm) in the Hebei Museum of China 
一件玉雕長信宮燈(高 22.5 cm)與一件中國河北省博物館藏青銅鎏金長信宮燈(高 48 cm)


A Gilt-Bronze Guanyin Bodhisattva Figure (H 40.5 cm) and a Carved Wood one (H 200 cm) in the National Museum of China 
一件銅鎏金觀音菩薩坐像(高 40.5 cm)與一件中國國家博物館藏木雕观音菩萨坐像(高 200 cm)


A jade carved Manlike Oil Lamp (H 27 cm) and a bronze one (H 21.3 cm) in the National Museum of China 
一件玉雕人形玉燈(高 27 cm)與一件中國國家博物館藏銅雕人形铜灯(高 21.3 cm)


A jade carved Phoenix Bi (D 23 cm) and a jade carved Dragon Bi (D 26.3 cm) in the National Museum of China 
一件玉雕鳳紋玉璧(直徑 23 cm)與一件中國國家博物館藏玉雕龙纹玉璧(直徑 26.3 cm)


A Dancing-horse Gold Bowl (D 12.8 cm) and a Mandarin Duck Gold Bowl (D 13.5 cm) in the Shaanxi History Museum of China 
一件雙舞馬紋金碗(口徑 12.8 cm)與一件中國陕西历史博物馆藏鸳鸯莲瓣纹金碗(口徑 13.5 cm)


A Dancing-horse Gold Bowl (D 12.8 cm) and a Double-lion Silver Bowl (D 12.6 cm) in the Shaanxi History Museum of China
一件雙舞馬紋金碗(口徑 12.8 cm)與一件中國陕西历史博物馆藏鎏金双狮纹银碗(口徑 12.6 cm)



A painting "Orchids Bamboos and Rocks" (H 65 x W 67 cm) by Zheng Banqiao dated 1764 and the same in the Wuxi City Government of China 
一幅鄭板橋1764年作蘭竹石圖(高 65 x 寬 67 cm)與一幅中國無錫市政府之相同鄭板橋蘭竹石圖軸

\
Chinese porcelain art blooms quite a lot
中國瓷器藝術大量開花

Chinese porcelain art blooms quite a lot

Chinese porcelain works of art fetched nearly 10 times of estimated expectations in the four days of the New York 2013 March Asian art auctions.

An 18th century pear-shaped yellow and blue porcelain vase in Qianlong Period (1736-1795) Qing Dynasty (1644-1911) with an estimate of $400,000 fetched nearly 10 times that, or $3.8 million.

A large pair of gilt-lacquered bronze figures of bodhisattvas in Ming Dynasty (1368-1644) that was estimated to sell for about $25,000 sold for $1.2 million.

A Chinese porcelain "Ding" bowl in Northern Song Dynasty (1100-1127) with an estimate of $200,000 to $300,000 was paid $2.2 million with commission. A New York state family bought this bowl for 3 dollars at a garage sale in 2007 and displayed it in their home.

中國瓷器藝術大量開花

於2013年3月為期4天的紐約亞洲藝術拍賣會中,中國瓷器工藝品取得高出預先估價近10倍的成交價。

一個18世紀的中國清朝(1644-1911)乾隆時期(1736-1795)青花黄地梨形尊瓶瓷器估價美金40萬元卻賣出近10倍的380萬美元。

一對大件中國明朝(1368-1644)的漆金銅菩薩立像估價美金2萬5千元也賣出120萬美元。

一件中國北宋(1100-1127)定窯瓷碗估價美金20萬至30萬元但賣出含佣金的220萬美元,一個紐約家庭於2007年以3美元從一個車庫拍賣中將之買回家中陳列。

A five-colored bottle vase opened the European Voyage Age of Discovery
五彩天球甁開啟歐洲大航海時代


A Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Bottle Vase 明朝正統年製官窯釉下彩五彩歐洲使節天朝進貢天球瓶

A Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Ming Dynasty
明朝正統年製官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶

A Rare and Fine Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping
Imperial Palace Workshop Zhengtong Period (1436 - 1449) Four-character Seal-mark Ming Dynasty
罕見精品明朝正統年製 (1436 - 1449) 官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶

腹徑 Abdomen Diameter 23.5 cm x 高 H 37 cm 公分
口徑 Top Diameter 8.2 cm 公分
圈足徑 Round Base-stand Diameter  11 cm 公分

1. The porcelain body has the features of Ming Dynasty porcelain: the porcelain body of Ming Dynasty porcelain is designed in regular and generous shape, and had hard and white quality of porcelain.

2. The color of glaze surface inside the bottle vase being greenish-white (i.e. the glaze has a pale greenish tinge) proves that it is definitely not modern porcelain: the glaze surface of Ming Dynasty porcelain is greenish-white. The color of glaze surface being greenish-white is owing to the traditional firing method in Ming Dynasty. They mixed glaze with plant and wood ashes and used wood for firewood so as to have produced this effect. The ingredients and firing process of modern porcelain glaze are all different from those in Ming Dynasty. Therefore the glaze surface of modern porcelain has no such a greenish-white color on glaze surface.

3. According to historical records, in Ming Dynasty Zhengtong Year 3 (A.D. 1438), Ming Sovereign had prohibited the civil kilns to fire porcelain products that have the same styles as those made by the Imperial Palace Workshops. In Ming Dynasty Zhengtong Year 12 (A.D. 1447), Ming Sovereign had also banned the civil kilns to fire porcelain products that have yellow, purple, red, green, smalt, blue, and white groundings in private. This bottle vase has a blue grounding on it and was made in Zhengtong Period (1436 - 1449). Obviously it was indeed a porcelain product made by Imperial Palace Workshop. Besides it has exquisite workmanship, gorgeous under-glazed five-colored Wucai colors. It is also well-preserved and has become a top grade work of art among those similar artifacts made by Imperial Palace Workshops to be handed down to posterity.

4. Tapping the bottle vase wall issuing a sonorous and clear metallic sound proves that it is a porcelain product made in Ming Dynasty: tapping the Ming Dynasty porcelain that has high purity of raw materials will issue crisp sound similar to that of metal.

5. According to historical records, in Zhengtong Period (1436 - 1449) Ming Dynasty, both imperial court-operated kilns (Imperial Palace Workshops) and civil private kilns have had porcelain firings and productions. But the porcelain works of art handed down to posterity, so far have not been found any one single piece to be made by Imperial Palace Workshops and inscribed with "Made in Zhengtong Years". So there are the said terminologies of "Blank Period" and "Three Dark Dynasties" of porcelain products academically. But these academic alleged terminologies are meant to the imperial kilns (Imperial Palace Workshops), not to the civil private kilns. The productions of civil private kilns, just like those in other dynasties, have never been stopped. But from the view of the productions of imperial kilns in Zhengtong Period, it was still a blank period.

(1) This Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping made by Imperial Palace Workshop in Zhengtong Period (1436 - 1449) has clearly explained the reason why so far not any one single piece made by Imperial Palace Workshops and inscribed with "Made in Zhengtong Years" to be found in "Blank Period" and "Three Dark Dynasties" of porcelain products:

(2) In the early Ming Dynasty, Ming Sovereign had executed a diplomatic tributary system. The tributary trade of Ming Sovereign received little from a tributary country, but was paying back with extremely high returns. If you want to do business in China, it is necessary to follow this tributary system, otherwise you are not to be granted. This is the so-called tributary trade. In the 13th century, there are already many European envoys along the Silk Road coming to the capital of China in Yuan Dynasty (1206 - 1368) to meet the Mongol Khan. On this more than 7,000 kilometers of Silk Road, porcelain products originated in China have long been a symbol of a powerful and prosperous East Asian civilization.

(3) Because the porcelain products spread to Europe in the west were at extraordinarily high prices, so that a considerable number of Europeans had been convinced of that China and East Asia must have been a property of the abundance of wealth. The European Majesties and Lords once were used to having home porcelain as a rich symbol of glory.

(4) Since this Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping made by Imperial Palace Workshop in Zhengtong Period (1436 - 1449) Ming Dynasty was painted on the bottle vase with the scenery of European envoy presenting his tribute to the Ming Emperor, this proves that the porcelain products of imperial kilns in Zhengtong Period Ming Dynasty were all handed over to European envoys by Ming government and transported to Europe through the diplomatic tributary trades, and none were left in China.

(5) On account of this reason, and besides the colors of under-glazed five-colored Wucai porcelain products made by imperial kilns in Zhengtong Period (1436 - 1449) Ming Dynasty were really extraordinarily fine and gorgeous, the European Majesties and Lords must have been astonished at their wonderful colorful five-colored beauties as being from a heavenly country, already beyond their original longing images upon the gorgeous blue and white porcelain from Yuan and Ming dynasties in China, such as a new era from a black and white TV world to the colored one. Therefore they regarded the greater East Asia and China as an area with incredibly rich and affluent properties, and where they could not be not to go. They had to avoid the historical Silk Road, decided to open the European Voyage Age of Discovery directly, and had strong and fearless attempt to select another alternative sea route to trade with East Asia and China.

(6) Therefore, King John II of Portugal commanded Bartolomeu Dias to be departed in 1487 trying the rounding sea of the southern tip of Africa, then Cape of Good Hope was discovered. This indicated that the sea route to the richness of the greater East Asia and China via Indian Sea was accessible. 

(7) Queen Isabel I of the Kingdom of Castile Spain supported the exploration of Christopher Columbus in 1492 to expect his finding another sea route sailed westward from Europe to Indian Sea.

(8) Under the command of new king Manuel I of Portugal, Vasco da Gama discovered a new sea route directly from Europe to India in 1498. Thus the Silk Road on land was no longer the only way to the eastern market.

(9) Italian explorer Amerigo Vespucci who was under command of Spanish King discovered a new continent of America from 1499 to 1504. 

(10) In May 1513 Jorge Álvares, one of the European Portuguese envoys, finally reached China from the sea route. It was Rafael Perestrello—a cousin of the famed Christopher Columbus—who became the first European explorer to land on the southern coast of mainland China and trade in Guangzhou in 1516. Fernão Pires de Andrade visited Canton in 1517 and opened up trade with China. 

(11) But the Portuguese begun to invade China in 1521 to force China to open trade ports, and Tuenmun naval battle was then broken out. In 1553 the Portuguese finally was granted by the Chinese Ming government to establish the colony of Macau. Dutch occupied the Penghu Isles near Taiwan twice, and Penghu naval battle was broken out. Dutch afterwards occupied the island of Taiwan instead. The Spaniard also gained control of Taiwan's northern Keelung. Holland and Spain two countries began to have Taiwan as a colony for ports of trading with the Chinese Ming government.


1. 瓷胎具備明朝瓷器之特點: 明朝時期瓷器的胎體,器形規整大方,胎質堅硬潔白。

2. 天球瓶內釉面青白證明絕非是現代瓷器: 明朝時期瓷器的釉面青白,釉面青白為整個明代傳統燒造方法所致,因釉料中摻有草木灰,並用木柴燒,所以會產生這種效果。現代瓷器的釉面成分及燒造工藝都與明代不同,因此釉面無此青白色。

3. 據文獻記載,明朝正統三年 (西元1438年) 曾經禁止民窯燒造和官窯器式樣相同的瓷器; 明朝正統十二年 (西元1447年) 亦有不准民窯私造黃、紫、紅、綠、青、藍、白地等瓷器的禁令。此天球瓶是正統年製藍地瓷器,明顯的確是官窯器,且其製作工藝精湛,釉下彩五彩發色豔麗,保存完好,為官窯傳世同類器物中之上品。

4. 輕叩天球瓶壁發出鏗鏘清脆的金屬聲, 證明是明朝時期瓷器製品: 原料純淨度高的明朝時期瓷器,在輕叩時,會發出類似金屬的清脆聲音。

5. 從文獻記載,正統時期不論官、民窯器都曾有燒造。但傳世品中至今未見一件署年款 (正統年製) 的官窯瓷器,所見瓷器均為民窯所產,故學術界有"空白期"和"黑三代"之稱。學術界所稱係指官窯,並非民窯。就民窯生產來說,它和其他朝代一樣,並未間斷過,但就官窯生產來看,正統時期仍然是一個空白期。

(1) 而此件明朝正統年製 (1436 - 1449) 官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶,正可明確解釋為何傳世品中至今未見一件署年款 (正統年製) 的"空白期"和"黑三代"官窯瓷器的原因︰

(2) 明朝初年,外交實施朝貢體制,朝貢貿易薄來厚往,如果要來中國做生意,必需朝貢兼貿易,否則不予,這就是所謂的朝貢貿易。13世紀時代,即有不少歐洲使節沿絲綢之路來到中國元朝 (1206 - 1368) 的都城拜見蒙古大汗。而在這逾 7000 公里的絲綢之路上,原產於中國的瓷器,早已成為當時一個東亞強盛文明的象徵。

(3) 由於西傳至歐洲的瓷器價格奇高,令相當多的歐洲人認為中國乃至東亞是一個物產豐盈的富裕地區,歐洲各國元首及貴族曾一度以家中使用瓷器為富有榮耀的象徵。

(4) 既然此件明朝正統年製 (1436 - 1449) 官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶,瓶上所繪製的正是歐洲使節天朝進貢人物風景圖,證明明朝正統年製 (1436 - 1449) 的官窯瓷器,皆是由明朝政府交予往來朝貢貿易的歐洲使節全部運往歐洲,並未留在中國。

(5) 正因如此,由於明朝正統年製 (1436 - 1449) 官窯釉下彩五彩瓷器的色彩真是太過於精美豔麗,使歐洲各國元首及貴族驚為彩色之五彩天物,早已經超越歐洲人原先對於中國元、明兩朝青花磁器豔麗之嚮往,正如同從黑白電視世界進入彩色電視的新世紀一般,而更加認為大東亞及中國乃是一個物產無比豐盈的富裕地區,不可不去,遂有避開歷史絲綢之路,決定直接開啟歐洲之大航海時代,選擇另一條由海路直接通商大東亞及中國之堅強無畏企圖。

(6) 因此1487年迪亞士受葡萄牙國王若昂二世之命令出發尋找環繞非洲大陸最南端的海洋,因而發現了好望角,這意味著經由印度洋航線進入富有的大東亞及中國的海路已是可行。

(7) 1492年西班牙卡斯蒂利亞王國伊莎貝拉一世女王資助了克里斯多福·哥倫布的探險活動,希望他能找到從歐洲向西航往印度洋的路線。

(8) 在葡萄牙新國王曼努埃爾一世的命令下,1498年瓦斯科·達伽馬發現了從歐洲直接通往印度的新航線,使得陸上絲綢之路不再是通往東方市場的唯一途徑。

(9) 1499年-1504年間,為西班牙國王效勞的義大利人阿美利哥·維斯普西發現了新大陸亞美利加洲(America)。

(10) 1513年5月眾多歐洲葡萄牙使節中之一位歐維士特使終於從海路抵達中國。但卻是有名的克里斯多福·哥倫布的堂兄弟拉斐爾·佩雷友,於1516年成為第一位抵達中國南方海岸並登上中國土地,且於廣州進行商業貿易的歐洲探險家。費爾南皮雷斯·德·安德拉德於1517年到訪廣東並與中國開始通商貿易。

(11) 但葡萄牙人卻於1521年開始以武力入侵中國,強逼中國開放國門通商,爆發屯門海戰。1553年葡萄牙人終於得到中國明朝政府批准,建立了澳門殖民地。荷蘭人則先後二次侵佔澎湖,爆發澎湖海戰,後改為攻佔台灣島。西班牙人亦攻佔台灣北部基隆。荷蘭、西班牙兩國皆以台灣為殖民地,作為與中國明朝政府通商貿易的港口。

A Gilt-Bronze Guanyin Bodhisattva Figure and a Carved Wood Guanyin Bodhisattva Figure in National Museum of China
中國唐朝銅鎏金觀音菩薩坐像與中國國家博物館館藏之宋朝彩绘木雕观音菩萨坐像


A Gilt-Bronze Sitting Guanyin Bodhisattva Figure (H 40.5 cm) Tang Dynasty(618-907)China and a Color-painted Carved Wood Sitting Guanyin Bodhisattva Figure (H 200 cm) Song Dynasty(960-1279)collected in National Museum of China
中國唐朝(618-907年)銅鎏金觀音菩薩坐像(高 40.5 cm)與中國國家博物館館藏之宋朝(960-1279年)彩绘木雕观音菩萨坐像 (高 200 cm)

A Gilt-Bronze Sitting "Guanyin Bodhisattva" Figure A.D. 740 - A.D. 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 "銅鎏金觀音菩薩坐像"

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.

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.

This work of art has very clear and deep soakage color 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.

This work of art has also the same semi-seated attitude, full and round cheeks, splendid clothes and decorations as a Color-painted Carved Wood Sitting Guanyin Bodhisattva Figure (H 200 cm) Song Dynasty(960-1279)collected in National Museum of China, thus it’s "True Authenticity"!

西元740年至800年中國唐朝 "銅鎏金觀音菩薩坐像"

Size (尺寸): H 40.5 x W 23 x L 19 cm (公分)
Weight (重量): 9360 Grams (公克)

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.
銘文:鴻簋藝品 庚辰年拜塑.

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.

此工藝品亦與中國國家博物館館藏之宋朝(960-1279年)彩绘木雕观音菩萨坐像 (高 200 cm) 具備有相同之半坐姿勢, 圓潤雙頰, 華麗服裝與紋飾, 證明為真正!

張大千祥賀國民黨黨國元老家族結婚誌慶
Happy Wedding Ceremony Gift by Zhang Daqian
To be dedicated to the family member of the Kuomintang party high ranking founding official

“百年和合潑墨淡彩寫意白荷花圖”
“Happy Marriage for Hundred Years Splashed Ink and Color Impressionist White Lotus”

題識簽名︰百年和合  己酉六月大千張爰祥賀
二鈐印︰大千唯印大年、得心應手、
年代︰1969年作  直幅淡設色水墨紙本鏡片
尺寸Size︰高 H 136.5 cm x 寬 W 68 cm(約8.52平尺、10.31才)

Vertical Ink and Color on Paper, Mounted, Signed to be honorably dedicated by DAQIAN ZHANG YUAN dated June 1969, inscribed HAPPY MARRIAGE FOR HUNDRED YEARS, with two seals of the artist.


(1)張大千1978年戊午年2月初二日作《一花一世界潑墨寫意白荷花圖》
《One Flower in One World Splashed Ink Impressionist White Lotus》
by Zhang Daqian dated Feb. 2nd 1978
(高 H 94 x 寬 W 212.5 cm〔約18.34平尺、22.19才〕)
橫幅水墨紙本鏡片 Horizontal Ink on Paper Mounted
下方左上圖 Next the Leftmost and Upper Photo


1978年3月張大千先生暨夫人至佛光山禮佛,並贈親繪巨畫“一花一世界”。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 ( H 94 x W 212.5 cm 橫幅水墨紙本 張大千1978年戊午年2月初二日作 ),這幅畫是民國67年 (1978年) 3月張大千先生親自送到佛光山。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;再由臺灣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。(以上摘錄自佛光山開山宗長星雲大師著《星雲日記 命運的主人》一書、佛光大學佛光教科書第11冊《佛光學》第20課《佛光山大事記 佛光山創建緣起摘要》一書、及《佛光山開山宗長星雲大師大事記》一書。)


In Mar. 1978, Mr. and Mrs. Zhang Daqian visited Buddhist Mt. Fo Guang and dedicated personally a large painting 《One Flower in One World Splashed Ink Impressionist White Lotus》. On Sunday afternoon Feb. 27th 1994, at the auction of “Contemporary Fine Arts by Renowned Artists” held to raise the foundation fund of Fo Guang University, the most remarkable event was the auction sale of 《One Flower in One World Splashed Ink Impressionist White Lotus》 ( H 94 x W 212.5 cm Horizontal Ink on Paper dated Feb. 2nd 1978) water ink painting by Mr. Zhang Daqian. This painting was presented by Mr. Zhang Daqian personally to Mt. Fo Guang in Mar. 1978. The auction started to bid at NT 5 million dollars. After several competitive bids, a Buddhist disciple with surname Shiau won the bid at NT 60 million dollars finally. Then he donated his just-won painting back to the Fo Guang University for a second-run bidding, and once again this painting was won by Mr. Hsu Yeouyeang, the Founder of Taiwan Far Eastern Group, at NT 56 million dollars. Therefore this painting was sold at the highest price NT 116 million dollars in total to make the most favorable contribution to the Fo Guang University. ( The above was extracted from the Buddhist Master Xing Yun's Personal Diary Book 《 The Master of Fate 》 written by Founder Master Xing Yun of Buddhist Mt. Fo Guang and also recorded in the Buddhist Textbook Lesson 20, Volume 11 《 The Memorabilia of Buddhist Mt. Fo Guang 》of Buddhist University and the 《 The Memorabilia of Founder Master Xing Yun of Buddhist Mt. Fo Guang 》.)


(2)張大千1978年戊午年3月作《一花一世界潑墨寫意白荷花圖》
《One Flower in One World Splashed Ink Impressionist White Lotus》
by Zhang Daqian dated Mar. 1978
(高 H 89 x 寬 W 173 cm〔約14.13平尺、17.10才〕)
橫幅水墨紙本鏡片 Horizontal Ink on Paper Mounted
下方左下圖 Next the Leftmost and Lower Photo

(3)張大千1969年己酉年6月作《百年和合潑墨淡彩寫意白荷花圖》
《Happy Marriage for Hundred Years Splashed Ink and Color Impressionist White Lotus》
by Zhang Daqian dated Jun. 1969
(高 H 136.5 x寬 W 68 cm〔約8.52平尺、10.31才〕)
直幅淡設色水墨紙本鏡片 Vertical Ink and Color on Paper Mounted
下方右圖 Next the Rightmost Photo


張大千1969年己酉年6月作《百年和合潑墨淡彩寫意白荷花圖》之“大千張爰”四字簽名(下方最右方圖)與其姊妹書畫作品︰
(1)張大千作《驚才絕豔書法立軸》(高 H 96 x 寬 W 47.5 cm〔約4﹒18平尺、5﹒06才〕 直幅水墨紙本鏡片 下方最左方及左二圖)、
(2)張大千1978年戊午年3月作《一花一世界潑墨寫意白荷花圖》(下方左三中間圖)、
(3)張大千1978年戊午年2月初二作《一花一世界潑墨寫意白荷花圖》(下方左四右二圖)之“張大千爰”四字簽名,
就張大千之本人簽名與其書寫習慣而言,皆為相同,故為絕對真正。

The handwritings and signature of Zhang Daqian in this《Happy Marriage for Hundred Years Splashed Ink and Color Impressionist White Lotus》by Zhang Daqian dated Jun. 1969 (Next the Rightmost Photo) are the same as those 4 words in her sister calligraphy and paintings:

(1) 《Amazing Talent and Extreme Beauty》scroll calligraphy by Zhang Daqian (H 96 x W 47.5 cm Vertical Ink on Paper Mounted Next the Leftmost and the Second from Left Photos)、
(2) 《One Flower in One World Splashed Ink Impressionist White Lotus》by Zhang Daqian dated Mar. 1978(Next the Third from Left and the Middle Photo)、
(3) 《One Flower in One World Splashed Ink Impressionist White Lotus》by Zhang Daqian dated Feb. 2nd 1978(Next the Fourth from Left and the Second from Right Photo)、

Therefore it's “True Authenticity”!


張大千1969年己酉年6月作《百年和合潑墨淡彩寫意白荷花圖》之題識及張大千本人簽名(下方最右方及右二圖)與其姊妹書畫作品︰
(1)張大千作《驚才絕豔書法立軸》(高 96 x 寬 47.5 cm〔約4﹒18平尺、5﹒06才〕 直幅水墨紙本鏡片 下方最左方圖)、
(2)張大千1978年戊午年3月作《一花一世界潑墨寫意白荷花圖》(下方左二圖)、
(3)張大千1978年戊午年2月初二作《一花一世界潑墨寫意白荷花圖》(下方左三中間圖)之題識及張大千本人簽名,
就張大千之本人簽名與其書寫習慣而言,皆為相同,故為絕對真正。

The handwritings and signature of Zhang Daqian in the inscription of this《Happy Marriage for Hundred Years Splashed Ink and Color Impressionist White Lotus》by Zhang Daqian dated Jun. 1969 (Next the Rightmost and the Second from Right Photos) are the same as those words in her sister calligraphy and paintings:

(1) 《Amazing Talent and Extreme Beauty》scroll calligraphy by Zhang Daqian (H 96 x W 47.5 cm Vertical Ink on Paper Mounted Next the Leftmost Photo)、
(2) 《One Flower in One World Splashed Ink Impressionist White Lotus》by Zhang Daqian dated Mar. 1978(Next the Second from Left Photo)、
(3) 《One Flower in One World Splashed Ink Impressionist White Lotus》by Zhang Daqian dated Feb. 2nd 1978(Next the Third from Left and the Middle Photo)、

Therefore it's “True Authenticity”!







To Foresee Art Market Trend

預見藝術市場的未來走向





Welcome to identify your Chinese Paintings and Works of Art! Our help is free of charge!
歡迎辨識您的中國書畫及藝術品!
我們的協助是免費的!



To foresee future trend from the ten most expensive artworks in 2012
從2012年最貴的 10 件藝術作品預見未來傾向

From the ten most expensive artworks in 2012 to foresee the increasingly significant prosperous future of fine Chinese paintings in the next ten years.

從2012年最貴的 10 件藝術作品可預見未來 10 年中國書畫精品日益增強而意義重大的昌盛未來.

From the article "The-10-most-expensive-artworks" published on 05 Feb. 2013 by www.telegraph.co.uk ( Website: http://www.telegraph.co.uk/culture/art/artsales/9850514/The-10-most-expensive-artworks.html  ) compared with fine Chinese paintings, we can easily foresee the increasingly significant prosperous future of fine Chinese paintings in the next ten years.

從英國網站 www.telegraph.co.uk 於 2013 年 2 月 5 日所發行之文章 "最昂貴的 10 件藝術作品" ( 網址: http://www.telegraph.co.uk/culture/art/artsales/9850514/The-10-most-expensive-artworks.html  ) 與中國書畫精品作比較, 我們可輕易預見未來 10 年中國書畫精品日益增強而意義重大的昌盛未來.  



The Ten Most Expensive Artworks in 2012
2012 年最昂貴的 10 件藝術作品

#01
The Card Players 玩牌的人, Artist 畫家 : Paul Cézanne 保羅·塞尚, Price 價格 (百萬英鎊) : £158.4 million.


Picture 照片提供者 : Handout

#02
No. 5 第5號, Artist 畫家 : Jackson Pollock 傑克遜·波洛克, Price 價格 (百萬英鎊) : £89 million.


Picture 照片提供者 : Getty Images 蓋蒂圖片社

#03
Woman III 第三世仕女, Artist 畫家 : Willem de Kooning 威廉·德·庫寧, Price 價格 (百萬英鎊) : £87.4 million.


Picture 照片提供者 : AFP

#04
Portrait of Adele Bloch-Bauer I 阿黛爾·布洛赫 - 鮑爾第一世的肖像, Artist 畫家 : Gustav Klimt 克林姆, Price 價格 (百萬英鎊) : £85.7 million.

#05
The Scream 吶喊, Artist 畫家 : Edvard Munch 愛德華·蒙克, Price 價格 (百萬英鎊) : £76.3 million.
Picture 照片提供者 : AFP

#06
Garcon à la Pipe 持煙斗的男孩, Artist 畫家 : Pablo Picasso 巴勃罗•毕加索 (巴勃羅•畢加索), Price 價格 (百萬英鎊) : £66.1 million.


Picture 照片提供者 : EPA

#07
Portrait of Dr Gachet 加歇醫生的肖像, Artist 畫家 : Vincent van Gogh 文森特·梵高, Price 價格 (百萬英鎊) : £52.4 million.


Picture 照片提供者 : AP 美聯社

#08
Diana and Actaeon 黛安娜和阿克泰翁, Artist 畫家 : Titian 提香, Price 價格 (百萬英鎊) : £50 million.


Picture 照片提供者 : Reuters 路透社

#09
Bal du Moulin de la Galette 巴爾·杜·摩林酒店德·拉·加萊特, Artist 畫家 : Pierre-Auguste Renoir 皮埃爾·奧古斯特·雷諾阿, Price 價格 (百萬英鎊) : £49.6 million.


Picture 照片提供者 : Biography Channel 傳記頻道

#10
Portrait of Joseph Roulin 約瑟夫·羅林的肖像, Artist 畫家 : Vincent van Gogh 文森特·梵高, Price 價格 (百萬英鎊) : £36.7 million.


Picture 照片提供者 : Alamy

Top-Selling Artists of 2012 presented by Artnet
Artnet 所提供之2012 年全球最佳銷售畫家排行榜

Top-Selling Artists of 2012 presented by Artnet
Artnet 所提供之 2012 年全球最佳銷售畫家排行榜
2012 Rank  Artist                                         Top Lot Sold in 2012
Total Value Sold in 2012
2012年排行 畫家                                         2012年最佳銷售作品
2012年銷售總金額

1         Andy Warhol (American 美國)          Statue of Liberty 自由女神雕像
(US$43,762,500)   US$380,535,960             安迪•沃霍尔

2         Pablo Picasso (Spanish 西班牙)        Nature Morte aux Tulipes 自然靜物鬱金香
(US$41,522,500)   US$334,903,375             巴勃罗•毕加索

3         Gerhard Richter (German 德國)         Abstraktes Bild 抽象的圖像
(US$34,273,027)   US$298,932,200             格哈德•里希特

4         齊白石 Qi Baishi 齐白石 (Chinese 中國)    祖國頌 (Ode to the Mother Country)
(US$13,286,904)   US$261,662,966                        齊白石 Qi Baishi 齐白石

5         張大千 Zhang Daqian 张大千 (Chinese 中國) 紅妝步障 (Red Cosmetics and A Screen)
(US$6,927,162)    US$242,435,004                             張大千 Zhang Daqian 张大千

6         Mark Rothko (American 美國)          Orange, Red, Yellow 橘子, 紅色, 黃色
(US$86,882,496)   US$187,165,870             馬克·羅斯科

7         李可染 Li Keran 李可染 (Chinese 中國)    萬山紅遍 (Mountains in Red)
(US$46,030,323)   US$180,362,333                       李可染 Li Keran 李可染

8         Francis Bacon (Irish 愛爾蘭)          Figure Writing Reflected in Mirror 鏡中反射的人物寫生
(US$44,882,500)   US$172,183,728          弗朗西斯•培根

9         Jean-Michel Basquiat (American 美國)   Untitled 無題目
(US$26,402,500)   US$161,492,045                   讓·米歇爾·巴斯奎特

10        Joan Miro (Spanish 西班牙)                  Peinture (Etoile Bleue) 藍色星辰
(US$37,063,473)   US$155,182,091                  璜安·米羅

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

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

World Top 15 highest-selling artists in 2012
2012年列名世界拍賣收入記錄前15名的畫家

#1 Andy Warhol  安迪•沃霍尔 (1928-1987)   US$329.96 million
#2 Zhang Daqian  张大千 (1899-1983)   US$287.22 million
#3 Pablo Picasso  巴勃罗•毕加索 (1881-1973)   US$286.14 million
#4 Qi Baishi  齐白石 (1864-1957)   US$270.19 million
#5 Gerhard Richter  格哈德•里希特 (1932-)   US$262.80 million
#6 Xu Beihong 徐悲鸿 (1895-1953)   US$175.78 million
#7 Li Keran 李可染 (1907-1989)   US$166.79 million
#8 Mark Rothko 马克•罗斯科 (1903-1970)    US$166.78 million
#9 Francis Bacon 弗朗西斯•培根 (1909-1992)   US$153.08 million
#10 Fu Baoshi 傅抱石 (1904-1965)   US$152.07 million
#11 Jean-Michel Basquiat 让-米歇尔•巴斯奎特 (1960-1988)   US$141.27 million
#12 Joan Miro 琼•米罗 (1893-1983)   US$134.87 million
#13 Alexander Calder 亚历山大•考尔德 (1898-1976)   US$128.55 million
#14 Edvard Munch 爱德华•蒙克 (1863-1944)   US$120.85 million
#15 Claude Monet 克劳德•莫奈 (1840-1926)   US$120.62 million


Chinese artists listed in the 2012 world auction revenue top 50 record have been published.
2012年列名世界拍賣總收入記錄前50名的中國畫家名單已公佈

No. 2 第2名為張大千 Zhang Daqian 张大千 (1899-1983)     US$287.22 million
No. 4 第4名為齊白石 Qi Baishi 齐白石 (1864-1957)     US$270.19 million
No. 6 第6名為徐悲鴻 Xu Beihong 徐悲鸿 (1895-1953)     US$175.78 million
No. 7 第7名為李可染 Li Keran 李可染 (1907-1989)     US$166.79 million
No. 10 第10名為傅抱石 Fu Baoshi 傅抱石 (1904-1965)     US$152.07 million
No. 16 第16名為陸儼少 Lu Yanshao 陆俨少 (1909-1993)     US$112.07 million
No. 19 第19名為黃冑 Huang Zhou 黃冑 (1925-1997)     US$105.74 million
No. 20 第20名為黃賓虹 Huang Binhong 黄宾虹 (1865-1955)     US$83.00 million
No. 22 第22名為吳昌碩 Wu Changshuo 吴昌硕 (1844-1927)     US$77.10 million
No. 23 第23名為趙無極 Zao Wou-ki 赵无极 (1921-2013)     US$69.43 million
No. 26 第26名為吳冠中 Wu Guanzhong 吴冠中 (1919-2010)     US$62.18 million
No. 28 第28名為朱德群 Chu Teh-chun 朱德群 (1920-)     US$60.06 million
No. 30 第30名為范曾 Fan Zeng 范曾 (1938-)     US$58.21 million
No. 32 第32名為林風眠 Lin Fengmian 林风眠 (1900-1991)     US$57.91 million
No. 35 第35名為何家英 He Jiaying 何家英 (1957-)     US$46.73 million
No. 36 第36名為謝稚柳 Xie Zhiliu 谢稚柳 (1910-1997)     US$43.41 million
No. 37 第37名為潘天壽 Pan Tianshou 潘天寿 (1897-1971)     US$42.67 million
No. 40 第40名為啟功 Qi Gong 启功 (1912-2005)     US$41.86 million
No. 41 第41名為八大山人 Zhu Da 朱耷 (1626-1705)     US$40.93 million
No. 42 第42名為錢松喦 Qian Songyan 钱松喦 (1899-1985)     US$38.95 million
No. 47 第47名為吳湖帆 Wu Hufan 吴湖帆 (1894-1968)     US$36.80 million
No. 50 第50名為愛新覺羅溥儒 Pu Ru 溥心畬 Pu Xinyu (1896-1963)     US$34.13 million


Total 合計: 22 名中國畫家 22 Chinese Artists in total.

Source: The Art Market in 2012 Page 72 Top 500 Artists by Auction Revenue in 2012 by Artprice.com
資料來源: 法國 Artprice.com 2012年世界藝術市場第72頁2012年世界拍賣總收入排行前500名畫家



Orchids Bamboos and Rocks
by Zheng Banqiao dated 1764
鄭板橋1764年作 "蘭竹石圖" 墨寶真跡



Orchids Bamboos and Rocks by Zheng Banqiao dated 1764
H 65 x W 67 cm
鄭板橋1764年作 "蘭竹石圖" 墨寶真跡


鄭板橋年譜 ( 鄭板橋集 ):
鄭板橋於清乾隆29年甲申年西元1764年72歲時為茂林作
 "蘭竹石圖" 並題識:

題識曰: "掀天揭地之文, 震電驚雷之字, 呵神罵鬼之談, 無古無今之畫, 固不在尋常蹊徑中也. 未畫以前, 不立一格; 既畫之後, 不留一格. 乾隆甲申為茂林年學兄哂正. 板橋鄭燮.".

著錄 Publications:

鄭板橋年譜 ( 鄭板橋集 )
網址:  http://book.yunduan.cn/reader/1808646/1808657 

博客网 Bokee.com 鄭板橋年譜
網址:  http://gh20088002.bokee.com/viewdiary.23168498.html 





Scientific comparison with Seals and Signatures of Zheng Banqiao for authenticity

以畫家簽名筆跡與印文比對確認鄭板橋名畫真偽





我們以具備法庭證據能力的畫家簽名筆跡與印文比對及作品顏料色差等科學分析方法確定名畫真偽



We use scientific comparison analysis of " Seals and Signatures " of the artists on the renowned paintings as well as their color differences of painted color pigments on the paintings that can be rendered in a law court as strong evidences to assure and confirm their true authenticity. 



鄭板橋 Zheng Banqiao 郑板桥名畫作品之畫家簽名及印文與中华博物艺术收藏网站所收集之畫家落款与印鉴比對分析圖:


The comparison analysis of " Seals and Signatures " of the artist Zheng Banqiao on the renowned paintings with those collected in website http://www.gg-art.com/artist/:


Orchids Bamboos and Rocks by Zheng Banqiao dated 1764
H 65 x W 67 cm
鄭板橋1764年作 "蘭竹石圖" 墨寶真跡

尺寸: 高 H 65 x 寬 W 67 cm 約4平尺 橫幅水墨紙本
年代: 清乾隆甲申年1764年鄭板橋72歲時

題識簽名: 掀天揭地之文, 震電驚雷之字, 呵神罵鬼之談, 無古無今之畫, 固不在尋常蹊徑中也. 未畫以前, 不立一格; 既畫之後, 不留一格. 乾隆甲申為茂林年學兄哂正. 板橋鄭燮.

鈐印: 鄭爕, 鄭風子. (二鈐印)
鑑藏印: 揚州市博物館鑑藏 (一鈐印)



鄭板橋簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Zheng Banqiao " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 郑板桥落款与印鉴 ".

Web-site (網址) :

http://www.sc001.com.cn/sealdet.aspx?name=%d6%a3%b0%e5%c7%c5 

 

Orchids Bamboos and Rocks by Zheng Banqiao dated 1764.
鄭板橋1764年作 "蘭竹石圖" H 65 x W 67 cm 橫幅水墨紙本鏡片

Ink on Paper, Mounted, signed Banqiao Zheng Xie, inscribed ARTICLES THAT OPEN AND OVERTHROW HEAVEN AND EARTH, WORDS THAT SHOCK AND FRIGHTEN LIGHTNING AND THUNDER, TALKS THAT SCORE AND BLAME GOD AND GHOST, A PAINTING THAT HAS NOT BEEN EXISTED IN THE PAST AND WILL NOT BE DONE IN THE NEAR FUTURE, ARE ALL NOT ON THE USUAL ROUTE OR COMMON WAY. NEVER TO HAVE A STYLE BEFORE YOU START TO PAINT AND NEVER TO HAVE A STYLE LEFT AFTER YOU FINISH A PAINTING, dedicated QIANLONG JIASHEN (QIANLONG YEAR 29 A.D. 1764) PAINTED FOR MAO LIN NIAN XUE BROTHER TO INSTRUCT, with two seals of the artist and one authenticity appreciation seal of Yangzhou City Museum.

Publications:

鄭板橋年譜 (鄭板橋集) The biography of Zheng Banqian written in chronological order (at the age of 72 years old) by "The Biography of Zheng Banqian".

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:

Through the careful comparison and analysis with " The Seals and Signatures of Zheng Banqiao " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China, the seals and signature of the artist in this fine painting are both the personal seals and signature of Zheng Banqiao. Thus it's “True Authenticity”!

The highest auction hammer price record of " Orchids Bamboos and Rocks " paintings by Zheng Banqiao was as follows:

(1) The " Bamboo and calligraphy " ( H 186.5 x W 96.0 cm, ink on paper, hanging scroll. ) by Zheng Banqiao dated 1756 was sold US 6,176,000 dollars at Beijing Council International Auctions Beijing China 2011 Spring Auction Lot. 1059 on 06/07/2011.

鄭板橋1764年作 "蘭竹石圖" H 65 x W 67 cm 橫幅水墨紙本鏡片

尺寸: 高 H 65 x 寬 W 67 cm 約4平尺
年代: 清乾隆甲申年1764年鄭板橋72歲時.

題識簽名: 掀天揭地之文, 震電驚雷之字, 呵神罵鬼之談, 無古無今之畫, 固不在尋常蹊徑中也. 未畫以前, 不立一格; 既畫之後, 不留一格. 乾隆甲申為茂林年學兄哂正. 板橋鄭燮.
二個鈐印: 鄭爕, 鄭風子.
一個鑑藏印: 揚州市博物館鑑藏.

著錄 Publications:

鄭板橋年譜 (鄭板橋集) The biography of Zheng Banqian written in chronological order by "The Biography of Zheng Banqian".

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:

經由與中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 鄭板橋落款与印鉴 " 精細比對分析, 在此幅名畫上之作者題識簽名字跡與鈐印, 為畫家鄭板橋的本人親自書寫筆跡及簽名印鑑, 故為真正.

鄭板橋作蘭竹石圖的最高落槌拍賣紀錄如下:

(1) 鄭板橋1756年作 " 竹石兰蕙图 " ( 高 186.5 x 寬 96.0 cm, 水墨紙本立轴 ) 2011年6月7日於中国北京北京匡时国际拍卖有限公司2011春季艺术品拍卖会扬州画派作品专场 Lot. 1059 售出美金 US 6,176,000 元.


99 Paintings 書畫 12 Antiques 古董

99 Fine Chinese Paintings and 12 Antiques in 2013
2013 年 99 幅中國書畫及 12 件古董精品




10 Hand Scroll Paintings 10 幅手卷圖卷

10 Hand Scroll Paintings 10 幅手卷圖卷

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (3 幅/pcs)
齊白石 Qi Baishi 齐白石 (1 幅/pc)
徐悲鴻 Xu Beihong 徐悲鸿 (1 幅/pc)
傅抱石 Fu Baoshi 傅抱石 (3 幅/pcs)
吳湖帆 Wu Hufan 吴湖帆 (1 幅/pc)
愛新覺羅 溥儒 Pu Ru 溥心畬 Pu Xinyu (1 幅/pc)


12 Landscape Paintings 12 幅山水圖

12 Landscape Paintings 12 幅山水圖

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (7 幅/pcs)
李可染 Li Keran 李可染 (1 幅/pc)
黃賓虹 Huang Binhong 黄宾虹 (1 幅/pc)
吳湖帆 Wu Hufan 吴湖帆 (1 幅/pc)
謝稚柳 Xie Zhiliu 谢稚柳 (1 幅/pc)
黃君璧 Huang Junbi 黄君璧 (1 幅/pc)



9 Landscape Paintings 9 幅山水圖

9 Landscape Paintings 9 幅山水圖

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (3 幅/pcs)
吳冠中 Wu Guanzhong 吴冠中 (5 幅/pcs)
何海霞 He Haixia 何海霞 (1 幅/pc)


9 Landscape Paintings 9 幅山水圖

9 Landscape Paintings 9 幅山水圖

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (4 幅/pcs)
陸儼少 Lu Yanshao 陆俨少 (1 幅/pc)
黃賓虹 Huang Binhong 黄宾虹 (2 幅/pcs)
吳湖帆 Wu Hufan 吴湖帆 (1 幅/pc)
關山月 Guan Shanyue 关山月 (1 幅/pc)


9 Lotus Fowl Paintings 9 幅荷花禽鳥圖

9 Lotus Flower Plant Fowl Shrimp Flower and Bird Paintings 9 幅荷花花草群蝦禽鳥花鳥圖

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (3 幅/pcs)
齊白石 Qi Baishi 齐白石 (5 幅/pcs)
吳昌碩 Wu Changshuo 吴昌硕 (1 幅/pc)


13 Flower Bird Paintings 13 幅花鳥圖

13 Lotus Flower Plant Fowl Flower and Bird Paintings 13 幅荷花花草小樹禽鳥花鳥圖

Chinese Painters 中國畫家:

齊白石 Qi Baishi 齐白石 (3 幅/pcs)
顏伯龍 Yan Bolong 颜伯龙 (4 幅/pcs)
高逸鴻 Gao Yihong 高逸鸿 (1 幅/pc)
吳冠中 Wu Guanzhong 吴冠中 (1 幅/pc)
趙少昂 Zhao Shao’Ang 赵少昂 (3 幅/pcs)
唐雲 Tang Yun 唐云 (1 幅/pc)


9 Figure Animal Paintings 9 幅人物圖

9 Figure Animal Paintings 9 幅人物動物圖

Chinese Painters 中國畫家:

張大千 Zhang Daqian 张大千 (1 幅/pc)
齊白石 Qi Baishi 齐白石 (1 幅/pc)
吳冠中 Wu Guanzhong 吴冠中 (1 幅/pc)
徐悲鴻 Xu Beihong 徐悲鸿 (5 幅/pcs)
黃冑 Huang Zhou 黃冑 (1 幅/pc)


10 Figure Animal Paintings 10 幅人物圖

10 Figure Animal Paintings 10 幅人物動物圖

Chinese Painters 中國畫家:

林風眠 Lin Fengmian 林风眠 (4 幅/pcs)
張大千 Zhang Daqian 张大千 (4 幅/pcs)
豐子愷 Feng Zikai 丰子恺 (1 幅/pc)
愛新覺羅溥佐 Aisin Gioro Pu Zuo (1 幅/pc)


12 Jades and Antiques 12 件玉器及古董

12 Jades and Antiques 12 件玉器及古董

Works of Art 藝術品:

古董 Antiques (2 件/pcs)
玉 Jades (8 件/pcs)
羊脂白玉 Mutton Fat White Jades (2 件/pcs)




Beautiful Flowers Attracting Bees, by Gao Yihong dated Oct.1960.
H 128 x W 60.5 cm Ink and Colour on Paper, Hanging Scroll.

高逸鴻1960年10月上旬作 "群花爭艷招蜂圖" 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.  





The Best Investment Haven and Returns
in Art Market - Renowned Paintings
藝術市場最佳避風港與回收報酬率的投資
- 著名書畫作品


The Paintings of Chinese Artists
Listed in the World Auction Revenue Top 15 Record in 2011.

2011年列名世界拍賣收入記錄前15名的中國畫家名畫作品.

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.




Calligraphy of Zhang Daqian
張大千書法





*****
The recipient was the buddhist master Xing Yun, Hsing Yun,
founder of the buddhist mountain Fo Guang Shan
上款人為佛光山開山宗長星雲大師

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.
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.

*****
Calligraphy Couplet by Zhang Daqian dated 1980
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.

張大千1980年作書法對聯
紙本立軸 每幅 H 138.5 x W 33 cm  
(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.

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.

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.


*****
*****
Seven Character Calligraphy Couplet, by Zhang Daqian dated 1963.
H 136.6 x W 33.5 cm x 2 幅
張大千1963年作 "七言書法對聯" 直幅水墨紙本中堂懸掛立軸

題識簽名: (上聯) 秋風古道題詩瘦, (下聯) 落日平原縱馬高. 癸卯夏 大千張爰 (下聯).
鈐印: 長共天難老, 以介眉壽. (二鈐印) (上聯), 西川張爰, 金石同壽. (二鈐印) (下聯).

備註: 此書法對聯為于右任於1963年擔任中華民國監察院長時與張大千互換書法對聯之作品(存世不多), 現收藏家為直接購自于右任家族第三代並加以新裱而保存至今.

*****


I have two works of art made by Zhang Daqian in my living room at home. One is calligraphy, and another is painting. The calligraphy couplet was written (first couplet) FOLLOWING THE RIGHT WAY OF PREHISTORIC PEOPLE AND MATCHING THEIR BEHAVIORS, (second couplet) BEING STILL TO RESERVE THE SPIRIT FOR WEAK BODY. The painting was titled MOUNTAIN HUANG WITH HIGH PEAK. These two fine works of art with TRUE AUTHENTICITY were sent to me by old fellow Mr. Duan Yuzhen (段玉振) before he died.  He was once invited by Zhang Daqian to carve two seals for Zhang Daqian to use. One is "The Seal of Zhang Yuan (Zhang Daqian) (張爰之印)", another is "Everything is made up to the mind (一切唯心造)". 
---- The above content is quoted from the article "Right Way, the Great Phenomenon - Recalling Mr. Zhang Yuan (Zhang Daqian)" published on Sept 1, 2010 at China News Blogs (中時部落格).  


我家客廳掛有兩幅張爰作品, 其一是書法, 另一則是畫, 書法對聯寫的是 "踵羲皇而齊泰, 體虛靜以儲神", 畫作題為 "黃山絕頂". 這兩幅真跡, 是段老 (段玉振先生) 生前轉送給我的, 他老人家曾應故友張爰 (張大千先生) 之請, 幫他攻鍥過兩枚印, "張爰之印" 和 "一切唯心造". 文章內容引自2010年9月1日之 "大象 - 憶張爰先生", 原載於 "印刻文學生活誌" 2010年9月號.
http://blog.chinatimes.com/dustmic/archive/2010/09/01/534259.html

*****
*****

Calligraphy of Xu Beihong
徐悲鴻書法
*****
*****

Calligraphy of Yu Youren
于右任書法

*****
*****

Calligraphy of Xie Zhiliu
謝稚柳書法

*****

The paintings and their attached calligraphy of Chinese artist Zhang Daqian 张大千 (the world auction revenue top #1 champion in 2011).
2011年列名世界拍賣收入記錄第1名的中國畫家張大千 (Zhang Daqian 张大千) 的名畫及其書法作品.


Waterfall in a Quiet Mountain Valley with Calligraphy, by Zhang Daqian dated 1980.
畫 Painting H 133 x W 68 cm, 書法 Calligraphy  (pair of mounted hanging scrolls) each calligraphy on scroll 每幅 H 138.5 x W 33 cm
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


After the Rising and Warm Green Mountains by Huang Gongwang with Calligraphy, by Zhang Daqian dated 1947.
畫 Painting H 93 x W 176.5 cm, 書法 Calligraphy H 135.5 x W 67.5 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" 橫幅設色紙本鏡片


Sun is Rising and Darkness is Fallen allover the Mountain with Calligraphy, by Zhang Daqian dated 1979.
畫 Painting H 96 x W 175 cm, 書法 Calligraphy H 133 x W 35 cm x 2 紙本立軸七言對聯 2 幅.
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


A Bird’s-eye View on Taiwan Cross-Island Road near Herhuan, splendid golden-outline landscape splashed painting, by Zhang Daqian dated 1978.
H 92 x W 170 cm
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


Mountain Emei May Be Crossed On Top, by Zhang Daqian dated 1971.
H 95.5 x W 177.5 cm
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


Painting the Elder Bintourlu after Technique of Song Dynasty, by Zhang Daqian dated 1946.
H 92 x W 171 cm
張大千1946年作“倣宋人畫賓頭盧尊者像”橫幅設色紙本鏡片


Splashed Landscape Fuchun Mountain, by Zhang Daqian dated 1978.
H 118 x W 235.5 cm
張大千1978年作 "富春山居潑彩山水圖" 橫幅設色紙本鏡片


 


The Dreamland of Mountain Qingcheng in Heavenly Place, by Zhang Daqian dated 1981.
H 172.5 x W 92 cm
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

One of the Best Works of Art by Zhang Daqian
張大千的最佳作品之一

 


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

One of the Best Works of Art by Zhang Daqian
張大千的最佳作品之一


The Heavenly Place in Mankind World, by Zhang Daqian dated 1982.
H 177 x W 94 cm
張大千1982年作 "人家在仙堂潑彩山水圖" 直幅設色紙本鏡片

One of the Best Works of Art by Zhang Daqian
張大千的最佳作品之一


Beauty in Red Hair-kerchief,Wooden Shoes,White Robe, Bamboos, by Zhang Daqian dated 1980.
H 125.5 x W 60.5 cm
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




Lady with a Fan, Bamboos, Parrot Hairpin, in Tang’s Clothes, by Zhang Daqian dated 1980.
H 126 x W 60.5 cm
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

One of the Best Works of Art by Zhang Daqian
張大千的最佳作品之一


張大千 Zhang Daqian 张大千大師以一花一世界白荷花圖名畫及書法立軸與佛光山開山宗長星雲大師結善緣的友誼故事

一花一世界白荷花圖名畫及書法立軸

One Flower in One World White Lotus and attached calligraphy, by Zhang Daqian dated Mar.1978.
畫 Painting: H 89 x W 173 cm, 書法 Calligraphy: H 96 x W 47.5 cm.
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


Golden Outline Red Lotus and a Flying Bird, by Zhang Daqian dated 1978.
H 93 x W 177 cm
張大千1978年作 "香清鈎金紅荷翔鳥圖" 橫幅設色紙本鏡片



Splashed Color Golden Outlined Red Lotus on Gold Sheet by Zhang Daqian dated 1979.
H 97 x W 242.5 cm
張大千1979年作 "金箋潑彩描金紅荷花圖" 橫幅設色金箋鏡片



Happy Birthday to Chairman Chang Kaishek of the Government, by Zhang Daqian dated 1944, preface inscribed by Yu Youren.
畫 Painting H 45.5 x W 312 cm, 引首 Preface H 43 x W 55 cm
張大千作于右任題引首 "大觀高仕祝壽圖" 手卷

 



Listening to the Springs below the Mountains, splendid golden-outline splashed color landscape handscroll, preface self-inscribed, by Zhang Daqian dated 1980.
畫 Painting H 68 x W 354.5 cm, 自題引首 Preface H 50 x W 83 cm
張大千1980年作 “山水生風聽泉入山麓金碧潑彩山水圖” 手卷


18 Luohan Disciples Appointed to Witness to Buddhist Truth, by Zhang Daqian dated 1936.
H 44 x W 240 cm
張大千1936年作 "十八羅漢圖" 手卷


Han Changli Composed a Lyric Poem Derived from Chu Dynasty, by Zhang Daqian dated 1979. 
H 118.5 x W 60 cm
張大千1979年作 "韓昌黎作楚語圖" 立軸

One of the Best Works of Art by Zhang Daqian
張大千的最佳作品之一


Scholars Appreciating Maples, by Zhang Daqian dated 1979.
H 128.5 x W 60.5 cm
張大千1979年作 "高仕賞楓圖" 設色紙本立軸



Black Cloud Covering on Top of Mt. Emei among Blue Cloud, by Zhang Daqian dated 1979.
H 138 x W 67 cm
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




Spring Cloud and Morning Mist, by Zhang Daqian dated 1979.
H 47.5 x W 54 cm
張大千1979年作 "春雲曉靄潑彩山水圖" 橫幅設色絹本鏡片


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

題識簽名︰乙巳七月  大千張爰
鈐印︰大千唯印大幸、以介眉壽。(二鈐印)

備註︰台北市之國立歷史博物館 1980 年12月初版 " 張大千書畫集第二集 " 第8-9頁圖版2 張大千1979年11月作《春雲曉靄圖》(高69 x寬176公分 約10.96平尺),係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。


Dwelling in the Mountain by the Lake Wuting, by Zhang Daqian dated 1967.
H 64 x W 70 cm
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



世界上罕見之 "數筆成畫" 書畫精品
World Rare Fine Painting by
"Just Several Brushes"

Impressionistic Red Lotus, by Zhang Daqian.
H 32 x W 64 cm
張大千作 "寫意紅荷圖" 橫幅設色紙本鏡框







Splashed Colour Landscape of Beautiful Mountain Qingcheng, by Zhang Daqian dated 1973.
H 91.5 x W 165 cm
張大千1973年作 "青城天下幽潑彩山水圖" 橫幅設色紙本鏡片


High Mountain and Deep Cloud, by Zhang Daqian dated 1946.
H 129 x W 65 cm
張大千1946年作 "山高雲深山水圖" 直幅設色紙本中堂懸掛立軸

題識簽名: 丙戌嘉平月, 大千張爰.
鈐印: 張爰私印, 大千, 大風堂. (三鈐印)

 

 
 

 
 
 

 
 


張大千簽名及印文比對樣本:

" The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 张大千落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=2&name=%D5%C5%B4%F3%C7%A7#《春愁怎画》之一


Golden Outlined Red Lotus and Double Mandarin Ducks, by Zhang Daqian dated 1979.
H 118 x W 66.5 cm
張大千1979年作 "愛清氣金碧紅荷花鴛鴦嘉耦潑彩圖" 直幅設色紙本中堂懸掛立軸


張大千簽名及印文比對樣本:

" The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 张大千落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=2&name=%D5%C5%B4%F3%C7%A7#《春愁怎画》之一


Golden Outlined Landscape, by Zhang Daqian dated 1946.
H 129.5 x W 65 cm
張大千1946年作 "金碧山水圖" 直幅設色紙本中堂懸掛立軸

題識簽名: 碧水春風醉古山, 丙戌嘉平月, 大千張爰.
鈐印: 張爰之印, 大千居士, 大風堂. (三鈐印)

 

 
 
 

 
 
 
 



張大千簽名及印文比對樣本:

" The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 张大千落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=2&name=%D5%C5%B4%F3%C7%A7#《春愁怎画》之一

張大千印文比對樣本:

" The Seals of Zhang Daqian " offered by sealbank dot net,

" 真微書屋篆刻印學網 " 真微印庫网站所收集之 " 张大千印鉴 ".

Web-site (網址) :

http://www.sealbank.net/m3MainFind.asp?LM=3&L1=7&L2=71&L3=420&LS=&SRCHTXT=YR&SK=US771420&PN=1&PNRN=0#0



Lady with a Fan and Bamboos in Splashed Colors, by Zhang Daqian dated 1963 and splashed in 1980.
H 129.5 x W 63 cm
張大千1963年 ( 潑彩1980年 ) 作 "潑彩竹葉紈扇仕女圖" 直幅設色紙本中堂懸掛立軸

題識簽名: 癸卯三月, 大千居士爰.
鈐印: 張爰私印, 大千, 摩耶精舍. (三鈐印)

備註:  張大千1980年於台北外雙溪摩耶精舍將其於1963年癸卯年所繪製之 "竹葉紈扇仕女圖" 加上潑彩添畫而成, 並在畫面左下角潑彩處鈐上 " 摩耶精舍 " 之新印文, 因此畫面上1963年作仕女圖之舊墨色即為明顯與1980年作之潑彩新墨色有所差異. 

Remarks: Zhang Daqian added Splashed Colors upon his old painting "Lady with a Fan and Bamboos dated 1963" in 1980 at his Taipei Waishuangqi home Moyejingshe, and affixed a new seal "Moyejingshe" on the lower left-hand side of the splashed painting area. Thus the ink color of old Lady painting dated 1963 has a major difference with that of newly splashed ink in 1980.

 
 






 
 





張大千簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 张大千落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=2&name=%D5%C5%B4%F3%C7%A7#《春愁怎画》之一



張大千印文比對樣本 Sample of Comparison:

" The Seals of Zhang Daqian " offered by sealbank dot net,

" 真微書屋篆刻印學網 " 真微印庫网站所收集之 " 张大千印鉴 ".

Web-site (網址) :

http://www.sealbank.net/m3MainFind.asp?LM=3&L1=7&L2=71&L3=420&LS=&SRCHTXT=YR&SK=US771420&PN=1&PNRN=0#0



張大千簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Zhang Daqian " offered by article " The Research Study of Seals and Signatures of Zhang Daqian ",

" 張大千簽名﹝題畫﹞及鈐印﹝用印﹞研究 " 文章所收集之 " 张大千簽名及鈐印 ".

Web-site (網址) :

http://chinapen.tripod.com/sign/home.html


The paintings of Chinese artist Qi Baishi 齐白石 (the world auction revenue top #2 in 2011).
2011年列名世界拍賣收入記錄第2名的中國畫家齊白石 (Qi Baishi 齐白石) 的名畫作品.

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

One of the Best Works of Art by Qi Baishi
齊白石的最佳作品之一

 


Wealth and Powerful Honour are Both to Come, by Qi Baishi dated 1949.
H 94.5 x W 176.5 cm
齊白石1949年作 "富貴有期圖"  橫幅設色紙本鏡片




Lotus and Shrimps, by Qi Baishi dated 1946.
H 87 x W 168.5 cm
齊白石1946年作 "荷花群蝦圖" 橫幅設色紙本鏡片


A Lotus Pond and Shrimps, by Qi Baishi dated 1949.
H 92 x W 177 cm
齊白石1949年作 "荷花池塘群蝦圖" 橫幅設色紙本鏡片


A Spring Voice and Great Luck, by Qi Baishi dated 1947.
H 91 x W 175 cm
齊白石1947年作 "春聲大吉圖" 橫幅設色紙本鏡片


Prolonging Life, Impressionistic Squirrel on Pine, Red Peach, by Qi Baishi dated 1948.
左屏(Left) H 68 x W 31.5 cm 右屏(Right) H 68 x W 36 cm 
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

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”!

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.


Eagle Perching on the Pine, by Qi Baishi.
H 67 x W 35 cm
齊白石作 "松鷹圖" 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)


齊白石簽名及印文比對樣本:

" The Seals and Signatures of Qi Baishi " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 齐白石落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=1&name=%C6%EB%B0%D7%CA%AF#《阿芝》之二


The paintings of Chinese artist Xu Beihong 徐悲鸿 (the world auction revenue top #5 in 2011).
2011年列名世界拍賣收入記錄第5名的中國畫家徐悲鴻 (Xu Beihong 徐悲鸿) 的名畫作品.

"Jiufang Gao" People in the Chinese Ancient Historical Poem, by Xu Beihong dated 1940.
H 94 x W 177.5 cm
徐悲鴻1940年作 "九方皋圖" 橫幅設色紙本鏡片




People in Chinese Ancient Historical Poem of Six Dynasties, by Xu Beihong dated 1940.
H 94 x W 177.5 cm
徐悲鴻1940年作 "六朝人詩意圖" 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


Lions and Snake, by Xu Beihong dated 1942.
H 95.5 x W 178 cm
徐悲鴻1942年作 "獅與蛇" 橫幅設色紙本鏡片


The Hard Water Drawing of the People Lived in Chongqing, by Xu Beihong dated 1942, preface inscribed by Zhang Daqian.
畫 Painting H 67 x W 313 cm, 引首 Preface H 32 x W 76 cm
徐悲鴻1942年作張大千題引首之 "巴人汲水圖" 手卷


The Single Flying Eagle and the Lion, by Xu Beihong dated 1937.
H 95.5 x W 178.5 cm
徐悲鴻1937年作 "獨飛老鷹與獅子圖" 橫幅設色紙本鏡片





Lion and Eagle, by Xu Beihong dated 1942.
H 135.5 x W 67.5 cm
徐悲鴻1942年作 "獅子老鷹圖" 直幅設色紙本中堂懸掛立軸

題識簽名: 縱橫逸事造風雷  壬午夏日  悲鴻寫
鈐印: 江南布衣, 悲鴻之畫, 吞吐大荒. (三鈐印)


徐悲鴻簽名及印文比對樣本:

" The Seals and Signatures of Xu Beihong " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 徐悲鸿落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=15&name=%D0%EC%B1%AF%BA%E8#《悲鸿》之一


Prolonging Life, Auspicious Cranes, Ganoderma Lucidum Fungus, by Xu Beihong dated 1937.
H 135 x W 67.5 cm
徐悲鴻1937年作 "祥鶴靈芝延年益壽圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 二十六年六月, 悲鴻.
鈐印: 悲鴻之畫, 東海王孫, 真宰上訴. (三鈐印)



徐悲鴻簽名及印文比對樣本:

" The Seals and Signatures of Xu Beihong " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 徐悲鸿落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=15&name=%D0%EC%B1%AF%BA%E8#《悲鸿》之一


The paintings of Chinese artist Wu Guanzhong 吴冠中 (the world auction revenue top #6 in 2011).
2011年列名世界拍賣收入記錄第6名的中國畫家吳冠中 (Wu Guanzhong 吴冠中) 的名畫作品.

The People Live in Mali Village, by Wu Guanzhong dated 1982.
H 94 x W 176 cm
吳冠中1982年作 "馬里村頭人物風景圖" 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


The Lion Grove Garden (Lion Woods), by Wu Guanzhong dated 1997.
H 94 x W 177.5 cm
吳冠中1997年作 "獅子林" 橫幅設色紙本鏡片


The Wu Gorge, by Wu Guanzhong dated 1979.
H 96 x W 178.5 cm
吳冠中1979年作 "巫峽魂" 橫幅設色紙本鏡片


Rocks by the Sea, by Wu Guanzhong dated 1997.
H 95.5 x W 178 cm
吳冠中1997年作 "海滨石" 橫幅設色紙本鏡片


The Single-Log Bridge, by Wu Guanzhong dated 1989.
H 68.5 x W 103 cm
吳冠中1989年作 "獨木橋" 橫幅設色紙本鏡片


Expressionistic Lotus, by Wu Guanzhong dated 1990.
H 71 x W 64 cm
吳冠中1990年作 "表現主義的荷花" 直幅設色紙本鏡框

  


The paintings of Chinese artist Fu Baoshi 傅抱石 (the world auction revenue top #7 in 2011).
2011年列名世界拍賣收入記錄第7名的中國畫家傅抱石 (Fu Baoshi 傅抱石) 的名畫作品.

Hwan Shyua Showed Painting to Guests in East Jin Dynasty, by Fu Baoshi dated 1939, preface inscribed by Yu Youren.
畫 Painting H 67.5 x W 371.5 cm, 引首 Preface H 33.5 x W 78.5 cm
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


The Nine Elders of the Poetry by Bai Juyi in Tang Dynasty, by Fu Baoshi dated 1952, preface inscribed by Xu Beihong.
畫 Painting H 68 x W 350.5 cm, 引首 Preface H 34 x W 61.5 cm
傅抱石1952年作由徐悲鴻題引首之 "元氣淋漓九老圖" 手卷


Premier Xie An Brought Beauties to the East Shan Mountain, by Fu Baoshi dated 1945, preface inscribed by Xie Zhiliu.
畫 Painting H 66 x W 371.5 cm, 引首 Preface H 33 x W 63.5 cm
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



The paintings of Chinese artist Li Keran 李可染 (the world auction revenue top #10 in 2011).
2011年列名世界拍賣收入記錄第10名的中國畫家李可染 (Li Keran 李可染) 的名畫作品.
 
The Landscape of River Li being Well-known Forever, by Li Keran dated 1987.
H 95.5 x W 177 cm
李可染1987年作 "漓江山水傳千古圖" 橫幅設色紙本鏡片






The paintings of Chinese artist Lu Yanshao 陆俨少 (the world auction revenue top #11 in 2011).
2011年列名世界拍賣收入記錄第11名的中國畫家陸儼少 (Lu Yanshao 陆俨少) 的名畫作品.

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.

 

The paintings of Chinese artist Huang Zhou 黄胄 (the world auction revenue top #13 in 2011).
2011年列名世界拍賣收入記錄第13名的中國畫家黃冑 (Huang Zhou 黄胄) 的名畫作品.

The Children and Father Sitting on the Back of Camels, by Huang Zhou dated 1987.
H 96 x W 178 cm
黃冑1987年作 "駱駝背上的小學生與父親" 橫幅設色紙本鏡片



The paintings of Chinese artist Huang Binhong 黄宾虹 (the world auction revenue top #15 in 2011).
2011年列名世界拍賣收入記錄第15名的中國畫家黃賓虹 (Huang Binhong 黄宾虹) 的名畫作品.

Landscape, by Huang Binhong.
H 93 x W 175 cm
黃賓虹作 "山水圖" 橫幅設色紙本鏡片


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)


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。



The paintings of Chinese artist Wu Changshuo 吴昌硕 (the world auction revenue top #18 in 2011).
2011年列名世界拍賣收入記錄第18名的中國畫家吳昌碩 (Wu Changshuo 吴昌硕) 的名畫作品.

Annual Purely Floral and Fruity Tributes, by Wu Changshuo.
H 89.5 x W 173.5 cm
吳昌碩作 "歲朝清供圖" 橫幅設色紙本鏡片


The paintings of Chinese artist Lin Fengmian 林风眠 (the world auction revenue top #22 in 2011).
2011年列名世界拍賣收入記錄第22名的中國畫家林風眠 (Lin Fengmian 林风眠) 的名畫作品.

Two Beautiful Ladies and the Vase, by Lin Fengmian.
H 94 x W 176 cm
林風眠作“二美與花瓶圖”橫幅設色紙本鏡片

 

Three Beautiful Ladies and the Vase, by Lin Fengmian.
H 93.5 x W 175.5 cm
林風眠作“三美與花瓶圖”橫幅設色紙本鏡片

 

Court Ladies and the Vase, by Lin Fengmian.
H 97 x W 185 cm
林風眠作 "宮女與花瓶圖" 橫幅設色紙本鏡片


Five Naked Ladies, by Lin Fengmian.
H 92.5 x W 175 cm
林風眠作 "五裸女圖" 橫幅設色紙本鏡片

 
 



The paintings of Chinese artist Wu Hufan 吴湖帆 (the world auction revenue top #29 in 2011).
2011年列名世界拍賣收入記錄第29名的中國畫家吳湖帆 (Wu Hufan 吴湖帆) 的名畫作品.

Dwelling in the Mountains, by Wu Hufan dated 1930, preface inscribed by Xie Zhiliu.
畫 Painting H 66.5 x W 318 cm, 引首 Preface H 33 x W 83 cm
吳湖帆1930年作由謝稚柳題引首之 "春風綠揚枝山居圖" 手卷

 




Dwelling in the Mountains, by Wu Hufan dated 1930.
H 95.5 x W 178 cm
吳湖帆1930年作 "山居圖" 橫幅設色紙本鏡片


吳湖帆簽名及印文比對樣本:

" The Seals and Signatures of Wu Hufan " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 吴湖帆落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=13&name=%CE%E2%BA%FE%B7%AB#《湖颿长寿》之一


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︰ 吳湖颿(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。

 



吳湖帆簽名及印文比對樣本:

" The Seals and Signatures of Wu Hufan " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 吴湖帆落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=13&name=%CE%E2%BA%FE%B7%AB#《湖颿长寿》之一



Seven Character Calligraphy Couplet, by Wu Hufan dated 1947.
H 134 x W 33.5 cm x 2 幅
吳湖帆1947年作 "七言書法對聯" 直幅水墨紙本中堂懸掛立軸
題識簽名: (上聯) 花徑不曾緣客掃, (下聯) 蓬門今始為君開. 丁亥夏四月 吳湖帆 (下聯).
鈐印: 吳倩湖騷, 倩氏. (二鈐印) (下聯)



The paintings of Chinese artist Xie Zhiliu 谢稚柳 (the world auction revenue top #38 in 2011).
2011年列名世界拍賣收入記錄第38名的中國畫家謝稚柳 (Xie Zhiliu 谢稚柳) 的名畫作品.

Landscape in Windy Spirit, by Xie Zhiliu.
H 94.5 x W 177 cm
謝稚柳作 "生風抖擻山水圖" 橫幅設色紙本鏡片

 
 


The paintings of Chinese artist Huang Junbi 黄君璧 (the world auction revenue number #56 in 2011).
2011年列名世界拍賣收入記錄第56名的中國畫家黃君璧 (Huang Junbi 黄君璧) 的名畫作品.

High Mountains and Flowing Waters Landscape by Huang Junbi dated Dec.1938
H 95 x W 179 cm 橫幅設色紙本鏡片
黃君璧1938年12月作 "高山流水山水圖" 

 


High Mountains and Flowing Waters Landscape, by Huang Junbi dated Dec.1938.
H 133.5 x W 65.5 cm
黃君璧1938年12月作 "高山流水山水圖" 直幅設色紙本中堂懸掛立軸
題識: 高山流水, 戊寅嘉平, 嶺南黃君璧.
一鈐印: 黃君璧印.
備註: 黃君璧與張大千, 溥儒 ( 溥心畬 ) 號稱 "渡海三大名家". "高山流水" 出自 "列子. 湯問": 春秋時楚國的伯牙善於彈琴, 好友鍾子期能夠聽出他琴音裡所要表達的心意. 而文中 "志在登高山", "志在流水" 二語, 就被濃縮成 "高山流水", 用以形容樂曲的高妙, 後來人們就用它來比喻 "知音" 之意.
Remarks: Huang Junbi and Zhang Daqian, Pu Ru ( Pu Xinyu ) were called "Three Famous Artists came across the sea from China to Taiwan". The title of this painting "High Mountains and Flowing Waters Landscape" was derived from an ancient historical story recorded in a book named "Lie Zi - Tang Wen": During the Epoch of Spring and Autumn China from 770 B.C. to 476 B.C., a musician called Bo Ya in Nation Chu was excellent to play Chinese fretted musical instrument with five or seven strings, and his good friend Zhong Ziqi could always understand his true mind of expression to play by listening to the music sounds. Thus the two sentences "To have an ambition to climb High Mountains" and "To have an ambition to take a trip via Flowing Waters" written in the article of the story were combined to form new Chinese words "High Mountains and Flowing Waters" as an idiom to describe "Excellent Music" or "A Close or Intimate Friendship with Mutual Understanding".



黃君璧簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Huang Junbi " offered by http://www.sc001.com.cn,

" 中华收藏网 " 网站所收集之 " 黃君璧印章落款 ".

Web-site (網址) :

http://www.sc001.com.cn/sealdet.aspx?name=%bb%c6%be%fd%e8%b5




The paintings of Chinese artist Pu Ru 愛新覺羅.溥儒 (also known as Pu Xinyu 溥心畬, the world auction revenue top #69 in 2011).
2011年列名世界拍賣收入記錄第69名的中國畫家溥儒 (Pu Ru 愛新覺羅.溥儒, 又名 Pu Xinyu 溥心畬) 的名畫作品.

Green Mountain and White Cloud, by Pu Ru, preface inscribed by Zhang Daqian.
畫 Painting H 67.5 x W 355 cm, 引首 Preface H 33.5 x W 75 cm
溥儒作張大千題引首之 "青山白雲山水圖" 手卷


The paintings of Chinese artist Tang Yun 唐云 (the world auction revenue top #101 in 2011).
2011年列名世界拍賣收入記錄第101名的中國畫家唐雲 (Tang Yun 唐云) 的名畫作品.

Birds and Flowers, by Tang Yun.
H 98.5 x W 49.5 cm
唐雲作 "花鳥圖" 直幅設色紙本鏡框



The paintings of Chinese artist Zhao Shao’Ang 赵少昂 (the world auction revenue number #121 in 2011).
2011年列名世界拍賣收入記錄第121名的中國畫家趙少昂 (Zhao Shao’Ang 赵少昂) 的名畫作品.

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)


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。


The paintings of Chinese artist He Haixia 何海霞 (the world auction revenue number #133 in 2011).
2011年列名世界拍賣收入記錄第133名的中國畫家何海霞 (He Haixia 何海霞) 的名畫作品.

Landscape by He Haixia dated 1993
H 94.5 x W 176.5 cm 橫幅設色紙本鏡片
何海霞1993年作 "山水圖" 



The paintings of Chinese artist Guan Shanyue 关山月 (the world auction revenue number #148 in 2011).
2011年列名世界拍賣收入記錄第148名的中國畫家關山月 (Guan Shanyue 关山月) 的名畫作品.

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)





The paintings of Chinese artist Feng Zikai 丰子恺 (the world auction revenue top #401 in 2011).

2011年列名世界拍賣收入記錄第401名的中國畫家豐子愷 (Feng Zikai 丰子恺) 的名畫作品.


A Small Table, Three Friends and Plum Blossoms, by Feng Zikai.
H 35.5 x W 26 cm
豐子愷作 "小桌三朋梅花圖" 直幅設色紙本鏡框




The paintings of Chinese artist Aisin Gioro Pu Zuo 愛新覺羅溥佐.
中國畫家愛新覺羅溥佐 (Aisin Gioro Pu Zuo) 的名畫作品.

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)



The paintings of Chinese artist Yan Bolong 颜伯龙.
中國畫家顏伯龍 (Yan Bolong 颜伯龙) 的名畫作品.

Colorful Birds, Flowers and Plants, by Yan Bolong dated 1943.
H 114.5 x W 33 cm x 4 幅 直幅設色紙本中堂懸掛立軸四條屏 4 幅
顏伯龍1943年作 "彩鳥與花草小樹圖" 立軸四條屏




Others 其他畫家 :


Flowers and Birds, by Tian Shiguang.
H 126 x W 32.5 cm
田世光作 "花鳥圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 擬宋人筆法寫此, 田世光于北京柳浪庄上.
鈐印: 公煒 (一鈐印)


Landscape, by Yan Songnian dated 1948.
H 96.5 x W 43.5 cm
袁松年1948年作 "山水圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 聲喧亂石中, 色靜深松裏. 戊子初秋寫王韵青谿詩意於春申浦 袁松年.
鈐印: 松年延壽 (一鈐印)
備註: 春申浦為黃浦江, 今上海市. "聲喧亂石中, 色靜深松裏." 引自唐朝詩人王維所作唐詩 "青溪" 之詩意內容.

 

Flowers and Bamboos, by Gao Qifeng dated 1917.
H 133 x W 32.5 cm
高奇峰1917年作 "花竹圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 丁巳新秋奇峰高翁(翁字左邊山旁)客滬之作.
鈐印: 嶺南高翁(翁字左邊山旁) (一鈐印)

 
 

Wild Geese under Willow Shadow, by Chen Zhifo dated 1916.
H 129 x W 63 cm
陳之佛1916年作 "柳蔭雁鴨圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 丙辰秋月. 陳之佛.
鈐印: 陳之佛印. (一鈐印)


Flowers and Birds, by Chen Banding.
H 129 x W 63.5 cm
陳半丁 ( 陳年 ) 作 "花鳥圖" 直幅設色紙本中堂懸掛立軸
題識簽名: 陳年寫.
鈐印: 陳漁之印 (一鈐印)




Landscape, by Feng Chaoran dated 1939.
H 91 x W 171.5 cm
馮超然1939年作 "山水圖" 橫幅水墨設色紙本橫軸
題識簽名: 己卯秋七月於嵩山草堂, 愼得居士馮超然并記.
鈐印: 愼得, 超然畫記. (二鈐印)


馮超然簽名及印文比對樣本:

" The Seals and Signatures of Feng Chaoran " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 馮超然落款与印鉴 ".

Web-site (網址) : 




我們以具備法庭證據能力的畫家簽名筆跡與印文比對及作品顏料色差等科學分析方法確定名畫真偽

We use scientific comparison analysis of " Seals and Signatures " of the artists on the renowned paintings as well as their color differences of painted color pigments on the paintings that can be rendered in a law court as strong evidences to assure and confirm their true authenticity. 


各名畫作品之畫家簽名及印文與中华博物艺术收藏网站所收集之畫家落款与印鉴比對分析圖:

The comparison analysis of " Seals and Signatures " of the artists on the renowned paintings with those collected in website



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Golden Outlined Red Lotus and Double Mandarin Ducks, by Zhang Daqian dated 1979.
H 118 x W 66.5 cm
張大千1979年作 "愛清氣金碧紅荷花鴛鴦嘉耦潑彩圖" 直幅設色紙本中堂懸掛立軸


High Mountain and Deep Cloud, by Zhang Daqian dated 1946.
H 129 x W 65 cm
張大千1946年作 "山高雲深山水圖" 直幅設色紙本中堂懸掛立軸

題識簽名: 丙戌嘉平月, 大千張爰.
鈐印: 張爰私印, 大千, 大風堂. (三鈐印)



Seven Character Calligraphy Couplet, by Zhang Daqian dated 1963.
H 136.6 x W 33.5 cm x 2 幅
張大千1963年作 "七言書法對聯" 直幅水墨紙本中堂懸掛立軸

題識簽名: (上聯) 秋風古道題詩瘦, (下聯) 落日平原縱馬高. 癸卯夏 大千張爰 (下聯).
鈐印: 長共天難老, 以介眉壽. (二鈐印) (上聯), 西川張爰, 金石同壽. (二鈐印) (下聯).

備註: 此書法對聯為于右任於1963年擔任中華民國監察院長時與張大千互換書法對聯之作品(存世不多), 現收藏家為直接購自于右任家族第三代並加以新裱而保存至今.

 
 


 

 




張大千簽名及印文比對樣本:

" The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 张大千落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=2&name=%D5%C5%B4%F3%C7%A7#《春愁怎画》之一


張大千 Zhang Daqian 张大千名畫作品之畫家簽名及印文與中华博物艺术收藏网站所收集之畫家落款与印鉴, 及 " 真微書屋篆刻印學網 " 真微印庫网站所收集之 " 张大千印鉴 " 比對分析圖:

The comparison analysis of " Seals and Signatures " of the artist Zhang Daqian on the renowned paintings with those collected in website http://www.gg-art.com/artist/ and http://www.sealbank.net/ :

Golden Outlined Landscape, by Zhang Daqian dated 1946.
H 129.5 x W 65 cm
張大千1946年作 "金碧山水圖" 直幅設色紙本中堂懸掛立軸

題識簽名: 碧水春風醉古山, 丙戌嘉平月, 大千張爰.
鈐印: 張爰之印, 大千居士, 大風堂. (三鈐印)


張大千簽名及印文比對樣本:

" The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 张大千落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=2&name=%D5%C5%B4%F3%C7%A7#《春愁怎画》之一


張大千印文比對樣本:

" The Seals of Zhang Daqian " offered by sealbank dot net,

" 真微書屋篆刻印學網 " 真微印庫网站所收集之 " 张大千印鉴 ".

Web-site (網址) :

http://www.sealbank.net/m3MainFind.asp?LM=3&L1=7&L2=71&L3=420&LS=&SRCHTXT=YR&SK=US771420&PN=1&PNRN=0#0



張大千 Zhang Daqian 张大千名畫作品之畫家簽名及印文與中华博物艺术收藏网站所收集之畫家落款与印鉴, " 真微書屋篆刻印學網 " 真微印庫网站所收集之 " 张大千印鉴 ", 及 " 張大千簽名﹝題畫﹞及鈐印﹝用印﹞研究 " 文章所收集之 " 张大千簽名及鈐印 " 比對分析圖:

The comparison analysis of " Seals and Signatures " of the artist Zhang Daqian on the renowned paintings with those collected in websites http://www.gg-art.com/artist/ , http://www.sealbank.net/ , and http://chinapen.tripod.com/sign/home.html :


Lady with a Fan and Bamboos in Splashed Colors, by Zhang Daqian dated 1963 and splashed in 1980.
H 129.5 x W 63 cm
張大千1963年 ( 潑彩1980年 ) 作 "潑彩竹葉紈扇仕女圖" 直幅設色紙本中堂懸掛立軸

題識簽名: 癸卯三月, 大千居士爰.
鈐印: 張爰私印, 大千, 摩耶精舍. (三鈐印)

備註:  張大千1980年於台北外雙溪摩耶精舍將其於1963年癸卯年所繪製之 "竹葉紈扇仕女圖" 加上潑彩添畫而成, 並在畫面左下角潑彩處鈐上 " 摩耶精舍 " 之新印文, 因此畫面上1963年作仕女圖之舊墨色即為明顯與1980年作之潑彩新墨色有所差異. 

Remarks: Zhang Daqian added Splashed Colors upon his old painting "Lady with a Fan and Bamboos dated 1963" in 1980 at his Taipei Waishuangqi home Moyejingshe, and affixed a new seal "Moyejingshe" on the lower left-hand side of the splashed painting area. Thus the ink color of old Lady painting dated 1963 has a major difference with that of newly splashed ink in 1980.



 
 
 

 
 








張大千簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Zhang Daqian " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 张大千落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=2&name=%D5%C5%B4%F3%C7%A7#《春愁怎画》之一



張大千印文比對樣本 Sample of Comparison:

" The Seals of Zhang Daqian " offered by sealbank dot net,

" 真微書屋篆刻印學網 " 真微印庫网站所收集之 " 张大千印鉴 ".

Web-site (網址) :

http://www.sealbank.net/m3MainFind.asp?LM=3&L1=7&L2=71&L3=420&LS=&SRCHTXT=YR&SK=US771420&PN=1&PNRN=0#0



張大千簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Zhang Daqian " offered by article " The Research Study of Seals and Signatures of Zhang Daqian ",

" 張大千簽名﹝題畫﹞及鈐印﹝用印﹞研究 " 文章所收集之 " 张大千簽名及鈐印 ".

Web-site (網址) :

http://chinapen.tripod.com/sign/home.html


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Eagle Perching on the Pine, by Qi Baishi.
H 67 x W 35 cm
齊白石作 "松鷹圖" 直幅設色紙本中堂懸掛立軸

 
 



齊白石簽名及印文比對樣本:

" The Seals and Signatures of Qi Baishi " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 齐白石落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=1&name=%C6%EB%B0%D7%CA%AF#《阿芝》之二


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Lion and Eagle, by Xu Beihong dated 1942.
H 135.5 x W 67.5 cm
徐悲鴻1942年作 "獅子老鷹圖" 直幅設色紙本中堂懸掛立軸

題識簽名: 縱橫逸事造風雷  壬午夏日  悲鴻寫
鈐印: 江南布衣, 悲鴻之畫, 吞吐大荒. (三鈐印)






 
 
 



Prolonging Life, Auspicious Cranes, Ganoderma Lucidum Fungus, by Xu Beihong dated 1937.
H 135 x W 67.5 cm
徐悲鴻1937年作 "祥鶴靈芝延年益壽圖" 直幅設色紙本中堂懸掛立軸

題識簽名: 二十六年六月, 悲鴻.
鈐印: 悲鴻之畫, 東海王孫, 真宰上訴. (三鈐印)


徐悲鴻簽名及印文比對樣本:

" The Seals and Signatures of Xu Beihong " offered by Gg-Art Dot Com NET TECH CO., LTD. in Guangzhou City, China,

中國广州市圣翰文化传播有限公司 " 中华博物 " 艺术收藏网站所收集之 " 徐悲鸿落款与印鉴 ".

Web-site (網址) :

http://www.gg-art.com/artist/seal.php?id=15&name=%D0%EC%B1%AF%BA%E8#《悲鸿》之一


+++


黃君璧 Huang Junbi 黄君璧名畫作品之畫家簽名及印文與中华收藏网网站所收集之畫家落款与印鉴比對分析圖:

The comparison analysis of " Seals and Signatures " of the artist Huang Junbi on the renowned paintings with those collected in website http://www.sc001.com.cn :

High Mountains and Flowing Waters Landscape, by Huang Junbi dated Dec.1938.
H 133.5 x W 65.5 cm
黃君璧1938年12月作 "高山流水山水圖" 直幅設色紙本中堂懸掛立軸

題識: 高山流水, 戊寅嘉平, 嶺南黃君璧.
一鈐印: 黃君璧印.

備註: 黃君璧與張大千, 溥儒 ( 溥心畬 ) 號稱 "渡海三大名家". "高山流水" 出自 "列子. 湯問": 春秋時楚國的伯牙善於彈琴, 好友鍾子期能夠聽出他琴音裡所要表達的心意. 而文中 "志在登高山", "志在流水" 二語, 就被濃縮成 "高山流水", 用以形容樂曲的高妙, 後來人們就用它來比喻 "知音" 之意.

Remarks: Huang Junbi and Zhang Daqian, Pu Ru ( Pu Xinyu ) were called "Three Famous Artists came across the sea from China to Taiwan". The title of this painting "High Mountains and Flowing Waters Landscape" was derived from an ancient historical story recorded in a book named "Lie Zi - Tang Wen": During the Epoch of Spring and Autumn China from 770 B.C. to 476 B.C., a musician called Bo Ya in Nation Chu was excellent to play Chinese fretted musical instrument with five or seven strings, and his good friend Zhong Ziqi could always understand his true mind of expression to play by listening to the music sounds. Thus the two sentences "To have an ambition to climb High Mountains" and "To have an ambition to take a trip via Flowing Waters" written in the article of the story were combined to form new Chinese words "High Mountains and Flowing Waters" as an idiom to describe "Excellent Music" or "A Close or Intimate Friendship with Mutual Understanding".




黃君璧簽名及印文比對樣本 Sample of Comparison:

" The Seals and Signatures of Huang Junbi " offered by http://www.sc001.com.cn,

" 中华收藏网 " 网站所收集之 " 黃君璧印章落款 ".

Web-site (網址) :

http://www.sc001.com.cn/sealdet.aspx?name=%bb%c6%be%fd%e8%b5


+++


The Bronze Money-Shaking Fortune Tree of Qing Dynasty China
中國清朝青銅 "搖錢樹"

The Bronze Money-Shaking Fortune Tree of Qing Dynasty China
H 31.5 x W 23 x L 0.2 (Coin) - 0.9 (Tree) 公分 cm, 642 公克 Grams.

中國清朝青銅 "搖錢樹"


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"

A Carved Archaic Jade "Fish" Wine-Cup 1046 B.C. - 771 B.C. Western Zhou Dynasty China
H 20 x W 15 x L 6.5 公分 cm, 1873 公克 Grams.

西元前1046年至西元前771年中國西周時期 "古玉雕魚形酒杯"



A Carved Archaic White Jade "Persian Face Elephant" Puzzle 206 B.C. - 220 Han Dynasty China
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"


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"



A Gilt-Bronze "Guanyin Bodhisattva" Figure A.D. 740 - 800 Tang Dynasty China
西元740年至800年中國唐朝 "銅鎏金觀音菩薩造像"


A Gilt-Bronze Sitting "Guanyin Bodhisattva" Figure A.D. 740 - A.D. 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 "銅鎏金觀音菩薩坐像"

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.

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.


A Gilt-Bronze Guanyin Bodhisattva Figure and a Carved Wood Guanyin Bodhisattva Figure in National Museum of China
中國唐朝銅鎏金觀音菩薩坐像與中國國家博物館館藏之宋朝彩绘木雕观音菩萨坐像

A Gilt-Bronze Sitting Guanyin Bodhisattva Figure (H 40.5 cm) Tang Dynasty(618-907)China and a Color-painted Carved Wood Sitting Guanyin Bodhisattva Figure (H 200 cm) Song Dynasty(960-1279)collected in National Museum of China
中國唐朝(618-907年)銅鎏金觀音菩薩坐像(高 40.5 cm)與中國國家博物館館藏之宋朝(960-1279年)彩绘木雕观音菩萨坐像 (高 200 cm)


A Carved Archaic Green Jade "Sword" Token of Imperial Authority by Emperor 1600 B.C. - 1046 B.C. Shang Dynasty China 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"

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.

 

 


A Carved Archaic Red Jade Military Token of Imperial Authority by Emperor 1644 - 1911 Qing Dynasty China
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"

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"



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"

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"

This fine work of art 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. This is absolutely not to be done and copied by modern carvings.

此精美藝術品具備西漢玉工所雕 "皇室家族尊貴威嚴與王者家族氣度神韻" 之極度流暢王玉工藝, 絕非近現代玉工所能完成和仿制之.


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 master'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.




A Celadon Green Jade Twisted Ropes Triple Sitting Hornless Dragons Green-Dragon-Son-of-Heaven Pendant
中國西周時期古青玉雕扭繩紋三盤螭龍青龍天子珮

A Carved Archaic Celadon Green Jade Twisted Ropes Totem Triple Sitting Hornless Dragons Green-Dragon-Son-of-Heaven Pendant 1046 B.C. - 771 B.C. Western Zhou Dynasty China
Size: H 8.8 x W 8.7 x Depth 2 cm  171 g

西元前1046年至西元前771年中國西周時期 "古青玉雕扭繩紋三盤螭龍青龍天子珮"


A Coincident Carved Khotan Russet Skin Mutton Fat White Jade Sitting Double-humped Camel Western Han Dynasty China
中國西漢和闐黑棗皮古羊脂白玉巧雕坐姿雙峯駱駝

A Coincident Carved Archaic Sheep-Fat-Oily Khotan Russet Skin Mutton Fat White Jade Sitting Double-humped Camel 206 B.C. - A.D. 25 Western Han Dynasty China
H 9 x W 22.5 x Depth 13.5 cm  3941 g

西元前206年至西元25年中國西漢朝時期和闐黑棗皮古羊脂白玉巧雕坐姿雙峯駱駝


A Pale Celadon Greenish White Jade Linking Nipple Grain Phoenix Twisted Ropes Heaven Worship Bi of Nation Chu
中國東周戰國時期古青白玉淺浮雕勾連乳丁穀紋鳳紋扭繩紋楚國祭天玉璧

A Carved Archaic Pale Celadon Greenish White Jade Linking Nipple Grain Phoenix Twisted Ropes Totems Heaven Worship Bi of Nation Chu 475 B.C.–221 B.C. Eastern Zhou Dynasty Warring Times China
Bi Diameter 23 x Hole Diameter 4.9 x Depth 0.8cm 750g

西元前475年至西元前221年中國東周戰國時期古青白玉淺浮雕勾連乳丁穀紋鳳紋扭繩紋楚國祭天玉璧
璧外徑 23 x 好 (孔) 內徑 4.9 x 厚 0.8 cm 750 g



A White Jade Cavalrymen War Horses Halberds of Middle Sizes Militarism Worship Cong of the First Emperor of Qin 中國東周戰國至秦朝時期古白玉雕騎兵戰馬中戟紋秦始皇帝崇武玉琮

A Carved Archaic White Jade Cavalrymen War Horses and Halberds of Middle Sizes Totems Militarism Worship Cong of the First Emperor of Qin 475 B.C.–206 B.C. Eastern Zhou Dynasty Warring Times to Qin Dynasty China
Cong H 29.5 x W 15 x Depth 14.8 cm Cong Hole Diameter 10 cm Weight 10,908 g

西元前475年至西元前206年中國東周戰國至秦朝時期古白玉雕騎兵戰馬中戟紋秦始皇帝崇武玉琮
琮高 29.5 x 寬 15 x 深 14.8 cm 琮之內孔直徑 10 cm 重 10,908 g

Inscription: Every Side of Cong has Eight Cavalrymen Totems each riding on War Horse and holding Halberd of Middle Size to stab at enemies from different directions and has also two Chinese ancient characters “Halberd of Middle Size” written in Qin Characters or Xiao Zhuan Characters that were invented by the Premier Li Si of Qin Dynasty at the middle vertical line part of Cong on its four sides. The Cavalrymen War Horses and Halberds of Middle Sizes Totems as well as the two Chinese ancient characters “Halberd of Middle Size” written in Qin Characters or Xiao Zhuan Characters were all using the melted copper to be filled into the carved incised feminine ditch lines forming new smooth surface.

銘文: 玉琮四面的每一面皆飾以將青銅鎔入玉面陰刻溝渠線紋的鑠金8幅騎兵乘戰馬持中戟以不同方位刺向敵人紋, 每面中間直線條中尚飾以秦文或秦相李斯所創小篆文字體 “中戟” 二文字.



Rare and Fine Porcelain Works of Art
罕見精美瓷器藝術品


An Eggshell Thin Blue and White Playing Kids and Flower Bowl Imperial Palace Workshop Yongle Period (1403 - 1424) Ming Dynasty
明永樂年製
官窯薄胎青花人物花卉紋嬰戲圖大碗

Eggshell Blue and White Playing Kids Bowl Imperial Palace Workshop Yongle Period
明永樂年製官窯薄胎青花嬰戲圖大碗

A Very Fine and Rare Eggshell Thin Blue and White Playing Kids and Flower Bowl
Yongle Period (1403 - 1424), Imperial Palace Workshop, Four-character Seal-mark, Ming Dynasty.
罕見精品明永樂年製 (1403 - 1424) 官窯薄胎青花人物花卉紋嬰戲圖大碗

碗徑 Diameter 24.4 cm x 高 H 9.5 cm 公分
圈足徑 Round Base-stand Diameter 10 cm x 高 H 1 cm 公分
碗壁厚度 Bowl Wall Thickness 0.1 cm 公分
重量 Weight 323 grams 公克

 
 


A Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Bottle Vase 明朝正統年製官窯釉下彩五彩歐洲使節天朝進貢天球瓶

A Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Ming Dynasty
明朝正統年製官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶

A Rare and Fine Wucai Under-glazed European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping
Imperial Palace Workshop Zhengtong Period (1436 - 1449) Four-character Seal-mark Ming Dynasty
罕見精品明朝正統年製 (1436 - 1449) 官窯釉下彩五彩歐洲使節天朝進貢人物風景紋天球瓶

腹徑 Abdomen Diameter 23.5 cm x 高 H 37 cm 公分
口徑 Top Diameter 8.2 cm 公分
圈足徑 Round Base-stand Diameter  11 cm 公分


 
 
 
 


A Large Blue and White Fish Algae Lotus Dish Xuande Period 大明宣德年製官窯青花魚藻纏枝蓮花卉紋大盤

A Large Blue and White Fish Algae Lotus Dish Imperial Palace Workshop Xuande Period (1426 - 1435) Ming Dynasty
大明宣德年製官窯青花魚藻纏枝蓮花卉紋大盤

A Rare and Fine Large Blue and White Fish Algae Lotus Dish
Imperial Palace Workshop Xuande Period (1426 - 1435) Six-character Seal-mark Ming Dynasty
罕見精品大明宣德年製 (1426 - 1435) 官窯青花魚藻纏枝蓮花卉紋大盤

盤徑 Diameter 45 cm x 高 H 7.5 cm 公分
雙圈足︰
外圈足徑 Outer Round Base-stand Diameter 25.5 cm x 高 H 0.8 cm 公分
內圈足徑 Inner Round Base-stand Diameter  9.5 cm x 高 H 0.7 cm 公分

 
 
 


A Blue and White Red-glazed Sea Waves Shrimp Birds and Beasts Dish
Wanli Period (1573 - 1620), Six-character Seal-mark, Ming Dynasty.
大明萬曆年製青花礬紅彩海浪蝦禽獸紋盤


A Blue and White Red-glazed Sea Waves Shrimp Birds and Beasts Dish
Wanli Period (1573 - 1620), Six-character Seal-mark, Ming Dynasty.
大明萬曆年製青花礬紅彩海浪蝦禽獸紋盤

盤徑 Diameter 21.8 cm x 高 H 4.3 cm 公分
圈足徑 Round Base-stand Diameter 12.8 cm x 高 H 0.8 cm 公分 圈足底露胎無釉 The bottom of round base-stand is not glazed.
重量 Weight 600 grams 公克


 
 



A Blue and White Red-glazed Doucai Sea Waves Shrimp Birds and Beasts Bowl
Wanli Period (1573 - 1620), Six-character Seal-mark, Ming Dynasty.
大明萬曆年製青花礬紅彩鬥彩海浪蝦禽獸紋大碗


A Blue and White Red-glazed Doucai Sea Waves Shrimp Birds and Beasts Bowl
Wanli Period (1573 - 1620), Six-character Seal-mark, Ming Dynasty.
大明萬曆年製青花礬紅彩鬥彩海浪蝦禽獸紋大碗

碗徑 Diameter 19.5 cm x 高 H 8.5 cm 公分
圈足徑 Round Base-stand Diameter 8.2 cm x 高 H 1.2 cm 公分 圈足底露胎無釉 The bottom of round base-stand is not glazed.
重量 Weight 644 grams 公克


 


Auction of Chinese Paintings
中國畫家的著名書畫上拍拍賣

The Best Investment Haven and Returns in Art Market -
Chinese Paintings

藝術市場最佳避風港與回收報酬率的投資 -
著名中國書畫作品



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
H 17.5 x W 10.5 x L 6 公分 cm, 1597 公克 Grams
中國北方紅山文化時期 "古白玉雕豬鳥翼形龍"

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Mr. Orion Hsu & Brothers (徐氏兄弟珍藏文物)
Private Museum preparatory office
中國書畫文物博物館籌備企劃辦公室

orionandhsu@yahoo.com.tw  
orionandhsu@gmail.com  


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)

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.


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.


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.


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.


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

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

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.


For Emperor's Eyes Only,
the After-Bath Beauty of Emperor Tang Xuanzong (685 - 762)'s Beloved Concubine Yang Guifei (719 - 756)
in Tang Dynasty China.

只准皇帝的眼睛看,
中國唐朝皇帝唐玄宗 (685 - 762) 的
寵妃楊貴妃 (719 - 756) 出浴圖.

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

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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 master'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






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




張大千畫技的大膽冒險
A Bold Venture of 
Zhang Daqian’s Painting Techniques 

從 100% 中國書畫 到 60% 中國書畫 再到 20% 中國書畫 及 80% 油畫

From 100% Chinese Painting Technique to 60% Chinese Painting Technique and further to 20% Chinese Painting Technique plus 80% Oil Painting Technique




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.





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。




99 Paintings 書畫 12 Antiques 古董


99 Fine Chinese Paintings and 12 Antiques in 2013
2013 年 99 幅中國書畫及 12 件古董精品


Chinese Painters 中國畫家:

(1) 張大千 Zhang Daqian 张大千 (32 幅/pcs)
(2) 齊白石 Qi Baishi 齐白石 (10 幅/pcs)
(3) 徐悲鴻 Xu Beihong 徐悲鸿 (8 幅/pcs)
(4) 吳冠中 Wu Guanzhong 吴冠中 (7 幅/pcs)
(5) 傅抱石 Fu Baoshi 傅抱石 (3 幅/pcs)
(6) 李可染 Li Keran 李可染 (1 幅/pc)
(7) 陸儼少 Lu Yanshao 陆俨少 (1 幅/pc)
(8) 黃冑 Huang Zhou 黃冑 (1 幅/pc)
(9) 黃賓虹 Huang Binhong 黄宾虹 (3 幅/pcs)
(10) 吳昌碩 Wu Changshuo 吴昌硕 (1 幅/pc)
(11) 林風眠 Lin Fengmian 林风眠 (4 幅/pcs)
(12) 吳湖帆 Wu Hufan 吴湖帆 (4 幅/pcs)
(13) 謝稚柳 Xie Zhiliu 谢稚柳 (1 幅/pc)
(14) 黃君璧 Huang Junbi 黄君璧 (2 幅/pc)
(15) 愛新覺羅 溥儒 Pu Ru 溥心畬 Pu Xinyu (1 幅/pc)
(16) 唐雲 Tang Yun 唐云 (1 幅/pc)
(17) 趙少昂 Zhao Shao’Ang 赵少昂 (3 幅/pcs)
(18) 何海霞 He Haixia 何海霞 (1 幅/pc)
(19) 關山月 Guan Shanyue 关山月 (1 幅/pc)
(20) 豐子愷 Feng Zikai 丰子恺 (1 幅/pc)
(21) 顏伯龍 Yan Bolong 颜伯龙 (4 幅/pcs)
(22) 愛新覺羅溥佐 Aisin Gioro Pu Zuo (1 幅/pc)
(23) 高逸鴻 Gao Yihong 高逸鸿 (1 幅/pc)
(24) 田世光 Tian Shiguang 田世光 (1 幅/pc)
(25) 袁松年 Yuan Songnian 袁松年 (1 幅/pc)
(26) 高奇峰 Gao Qifeng 高奇峰 (1 幅/pc)
(27) 陳之佛 Chen Zhifo 陈之佛 (1 幅/pc)
(28) 陳半丁 Chen Banding 陈半丁 (1 幅/pc)
(29) 馮超然 Feng Chaoran 冯超然 (1 幅/pc)
(30) 鄭板橋 Zheng Banqiao 郑板桥 (1 幅/pc)

Works of Art 藝術品:

(1) 古董 Antiques (2 件/pcs)
(2) 玉 Jades (8 件/pcs)
(3) 羊脂白玉 Mutton Fat White Jades (2 件/pcs)

99 Paintings 書畫 12 Antiques 古董

Works of Art List 藝術作品名錄

Paintings 書畫作品

Chinese Painters 中國畫家:

(1) 張大千 Zhang Daqian 张大千 (32 幅/pcs)
1. Zhang Daqian Happy Birthday to Chairman Chang Kaishek of the Government inscribed by Yu Youren 張大千作于右任題大觀高仕祝壽圖手卷
2. Zhang Daqian After the Rising and Warm Green Mountains by Huang Gongwang with Calligraphy 張大千作擬元代黃公望浮巒暖翠山水圖及書法立軸
3. Zhang Daqian Splashed Landscape Fuchun Mountain 張大千作富春山居潑彩山水圖
4. Zhang Daqian Mountain Emei May Be Crossed On Top 張大千作可以橫絕峨嵋巔潑彩山水圖
5. Zhang Daqian A Bird’s-eye View on Taiwan Cross-Island Road near Herhuan 張大千作台灣橫貫公路合歡山鳥瞰金碧潑彩山水圖
6. Zhang Daqian 18 Luohan Disciples Appointed to Witness to Buddhist Truth handscroll 張大千作十八羅漢圖手卷
7. Zhang Daqian The Dreamland of Mountain Qingcheng in Heavenly Place 張大千作夢入靑城天下幽人間仙境圖
8. Zhang Daqian The Heavenly Place in Mankind World 張大千作人家在仙堂潑彩山水圖
9. Zhang Daqian Sun is Rising and Darkness is Fallen allover the Mountain with Calligraphy 張大千作天開影墮潑彩山水圖及書法對聯
10. Zhang Daqian Painting the Elder Bintourlu after Technique of Song Dynasty 張大千作倣宋人畫賓頭盧尊者像
11. Zhang Daqian Listening to the Springs below the Mountains handscroll 張大千作山水生風聽泉入山麓金碧潑彩山水圖手卷
12. Zhang Daqian Waterfall in a Quiet Mountain Valley with Calligraphy 張大千作幽谷飛瀑潑彩山水圖及書法對聯
13. Zhang Daqian Recalling the Beautiful Scenery of Mountain Huang in China 張大千作遙思黃山故景潑彩山水圖
14. Zhang Daqian Splashed Colour Landscape of Beautiful Mountain Qingcheng 張大千作青城天下幽潑彩山水圖
15. Zhang Daqian Golden Outline Red Lotus and a Flying Bird 張大千作香清鈎金紅荷翔鳥圖
16. Zhang Daqian One Flower in One World White Lotus and attached calligraphy 張大千作一花一世界白荷花圖及書法立軸
17. Zhang Daqian Lady with a Fan Bamboos Parrot Hairpin in Tang’s Clothes 張大千作仿莫高窟初唐人衣飾鸚鵡簪髮飾新篁紈扇仕女圖
18. Zhang Daqian Beauty in Red Hair-kerchief Wooden Shoes White Robe Bamboos 張大千作脩竹紅髮巾木屐白袍裸肩日本美女圖
19. Zhang Daqian Han Changli Composed a Lyric Poem Derived from Chu Dynasty 張大千作韓昌黎作楚語圖
20. Zhang Daqian Scholars Appreciating Maples 張大千作高仕賞楓圖
21. Zhang Daqian Black Cloud Covering on Top of Mt. Emei among Blue Cloud 張大千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
22. Zhang Daqian Dwelling in the Mountain by the Lake Wuting 張大千作五亭湖上山居潑彩山水圖
23. Zhang Daqian Spring Cloud and Morning Mist dated 1979 張大千1979年作春雲曉靄潑彩山水圖
24. Zhang Daqian Spring Cloud and Morning Mist dated 1965 張大千1965年作春雲曉靄潑彩山水圖
25. Zhang Daqian Impressionistic Red Lotus 張大千作寫意紅荷圖
26. Zhang Daqian Golden Outlined Red Lotus and Double Mandarin Ducks 張大千作愛清氣鈎金紅荷花鴛鴦嘉耦潑彩圖
27. Zhang Daqian High Mountain and Deep Cloud 張大千作山高雲深山水圖
28. Zhang Daqian Golden Outlined Landscape 張大千作金碧山水圖
29. Zhang Daqian Lady with a Fan and Bamboos in Splashed Colors 張大千作潑彩竹葉紈扇仕女圖
30. Zhang Daqian Seven Character Calligraphy Couplet 張大千作七言書法對聯
31. Zhang Daqian Six Character Calligraphy Couplet 張大千作六言書法對聯
32. Zhang Daqian Splashed Color Golden Outlined Red Lotus on Gold Sheet 張大千作金箋潑彩描金紅荷花圖

(2) 齊白石 Qi Baishi 齐白石 (10 幅/pcs)
1. Qi Baishi Lotus Fish Frogs Shrimps and Crabs handscroll inscribed by Zhang Daqian 齊白石作張大千題香清荷花魚蛙蝦蟹圖手卷
2. Qi Baishi The Ten Elder Men in the Legend of China 齊白石作十全老人神賢圖
3. Qi Baishi Lotus Double Mandarin Ducks and Love Shrimps 齊白石作荷花鴛鴦雙蝦佳偶圖
4. Qi Baishi Wealth and Powerful Honour are Both to Come 齊白石作富貴有期圖
5. Qi Baishi Lotus and Shrimps 齊白石作荷花群蝦圖
6. Qi Baishi A Lotus Pond and Shrimps 齊白石作荷花池塘群蝦圖
7. Qi Baishi A Spring Voice and Great Luck 齊白石作春聲大吉圖
8. Qi Baishi Eagle Perching on the Pine 齊白石作松鷹圖
9. Qi Baishi Prolonging Life Impressionistic Squirrel on Pine Red Peach Double Screens 齊白石作寫意松樹上松鼠與紅桃益壽圖對屏

(3) 徐悲鴻 Xu Beihong 徐悲鸿 (8 幅/pcs)
1. Xu Beihong The Hard Water Drawing of the People Lived in Chongqing handscroll inscribed by Zhang Daqian 徐悲鴻作張大千題巴人汲水圖手卷
2. Xu Beihong Jiufang Gao People in the Chinese Ancient Historical Poem 徐悲鴻作九方皋圖
3. Xu Beihong People in Chinese Ancient Historical Poem of Six Dynasties 徐悲鴻作六朝人詩意圖
4. Xu Beihong China the Wounded Lion Sat Watching American Flying Tiger 徐悲鴻作中國負傷之獅遙望美國飛虎飛將軍
5. Xu Beihong Lions and Snake 徐悲鴻作獅與蛇
6. Xu Beihong The Single Flying Eagle and the Lion 徐悲鴻作獨飛老鷹與獅子圖
7. Xu Beihong Lion and Eagle 徐悲鴻作獅子老鷹圖
8. Xu Beihong Prolonging Life Auspicious Cranes Ganoderma Lucidum Fungus 徐悲鴻作祥鶴靈芝延年益壽圖
(4) 吳冠中 Wu Guanzhong 吴冠中 (7 幅/pcs)
1. Wu Guanzhong The People Live in Mali Village 吳冠中作馬里村頭人物風景圖
2. Wu Guanzhong The Dwellings by the River and Mountain in Southern China 吳冠中作江南民居風景圖
3. Wu Guanzhong The Lion Grove Garden (Lion Woods) 吳冠中作獅子林
4. Wu Guanzhong The Wu Gorge 吳冠中作巫峽魂
5. Wu Guanzhong Rocks by the Sea 吳冠中作海滨石
6. Wu Guanzhong The Single-Log Bridge 吳冠中作獨木橋
7. Wu Guanzhong Expressionistic Lotus 吳冠中作表現主義的荷花
(5) 傅抱石 Fu Baoshi 傅抱石 (3 幅/pcs)
1. Fu Baoshi Hwan Shyua Showed Painting to Guests in East Jin Dynasty handscroll inscribed by Yu Youren 傅抱石作于右任題詩入畫中桓玄出畫圖手卷
2. Fu Baoshi The Nine Elders of the Poetry by Bai Juyi in Tang Dynasty handscroll inscribed by Xu Beihong 傅抱石作徐悲鴻題元氣淋漓九老圖手卷
3. Fu Baoshi Premier Xie An Brought Beauties to the East Shan Mountain handscroll inscribed by Xie Zhiliu 傅抱石作謝稚柳題春風綠揚東山攜妓圖手卷
(6) 李可染 Li Keran 李可染 (1 幅/pc)
1. Li Keran The Landscape of River Li being Well-known Forever 李可染作漓江山水傳千古圖
(7) 陸儼少 Lu Yanshao 陆俨少 (1 幅/pc)
1. Lu Yanshao Spring and Rocks Landscape of Mountain Yandang 陸儼少作雁蕩泉石山水圖
(8) 黃冑 Huang Zhou 黃冑 (1 幅/pc)
1. Huang Zhou The Children and Father Sitting on the Back of Camels 黃冑作駱駝背上的小學生與父親
(9) 黃賓虹 Huang Binhong 黄宾虹 (3 幅/pcs)
1. Huang Binhong Landscape 黃賓虹作山水圖
2. Huang Binhong Landscape Hanging Scroll (1) 黃賓虹作山水圖立軸(1)
3. Huang Binhong Landscape Hanging Scroll (2) 黃賓虹作山水圖立軸(2)
(10) 吳昌碩 Wu Changshuo 吴昌硕 (1 幅/pc)
1. Wu Changshuo Annual Purely Floral and Fruity Tributes 吳昌碩作歲朝清供圖
(11) 林風眠 Lin Fengmian 林风眠 (4 幅/pcs)
1. Lin Fengmian Five Naked Ladies 林風眠作五裸女圖
2. Lin Fengmian Two Beautiful Ladies and the Vase 林風眠作二美與花瓶圖
3. Lin Fengmian Three Beautiful Ladies and the Vase 林風眠作三美與花瓶圖
4. Lin Fengmian Court Ladies and the Vase 林風眠作宮女與花瓶圖
(12) 吳湖帆 Wu Hufan 吴湖帆 (4 幅/pcs)
1. Wu Hufan Dwelling in the Mountains handscroll inscribed by Xie Zhiliu 吳湖帆作謝稚柳題春風綠揚枝山居圖手卷
2. Wu Hufan Dwelling in the Mountains 吳湖帆作山居圖
3. Wu Hufan Landscape after Zhao Mengfu 吳湖帆作擬趙孟頫山水圖
4. Wu Hufan Seven Character Calligraphy Couplet 吳湖帆作七言書法對聯
(13) 謝稚柳 Xie Zhiliu 谢稚柳 (1 幅/pc)
1. Xie Zhiliu Landscape in Windy Spirit 謝稚柳作生風抖擻山水圖
(14) 黃君璧 Huang Junbi 黄君璧 (2 幅/pc)
1. Huang Junbi High Mountains and Flowing Waters Landscape 黃君璧作高山流水山水圖 (鏡片 mounted)
2. Huang Junbi High Mountains and Flowing Waters Landscape 黃君璧作高山流水山水圖 (立軸 hanging scroll)
(15) 愛新覺羅 溥儒 Pu Ru 溥心畬 Pu Xinyu (1 幅/pc)
1. Pu Ru Green Mountain and White Cloud handscroll inscribed by Zhang Daqian 溥儒作張大千題青山白雲山水圖手卷
(16) 唐雲 Tang Yun 唐云 (1 幅/pc)
1. Tang Yun Birds and Flowers 唐雲作花鳥圖

(17) 趙少昂 Zhao Shao’Ang 赵少昂 (3 幅/pcs)
1. Zhao Shao’Ang Flowers and Bird Double Screen 趙少昂作花鳥圖對屏
2. Zhao Shao’Ang Tall Willow Tree Morning Cicada Bamboos and Little Bird 趙少昂作高柳曉蟬竹葉小鳥圖
(18) 何海霞 He Haixia 何海霞 (1 幅/pc)
1. He Haixia Landscape 何海霞作山水圖

(19) 關山月 Guan Shanyue 关山月 (1 幅/pc)
1. Guan Shanyue Spring is coming to Southern Guangdong Landscape 關山月作春到南粵山水圖
(20) 豐子愷 Feng Zikai 丰子恺 (1 幅/pc)
1. Feng Zikai A Small Table Three Friends and Plum Blossoms 豐子愷作小桌三朋梅花圖
(21) 顏伯龍 Yan Bolong 颜伯龙 (4 幅/pcs)
1. Yan Bolong Colorful Birds Flowers and Plants Four Screens 顏伯龍作彩鳥與花草小樹圖四條屏
(22) 愛新覺羅溥佐 Aisin Gioro Pu Zuo (1 幅/pc)
1. Aisin Gioro Pu Zuo Two Beautiful Horses 愛新覺羅溥佐作雙駿馬圖
(23) 高逸鴻 Gao Yihong 高逸鸿 (1 幅/pc)
1. Gao Yihong Beautiful Flowers Attracting Bees 高逸鴻作群花爭艷招蜂圖
(24) 田世光 Tian Shiguang 田世光 (1 幅/pc)
1. Tian Shiguang Flowers and Birds 田世光作花鳥圖
(25) 袁松年 Yuan Songnian 袁松年 (1 幅/pc)
1. Yuan Songnian Landscape 袁松年作山水圖
(26) 高奇峰 Gao Qifeng 高奇峰 (1 幅/pc)
1. Gao Qifeng Flowers and Bamboos 高奇峰作花竹圖
(27) 陳之佛 Chen Zhifo 陈之佛 (1 幅/pc)
1. Chen Zhifo Wild Geese under Willow Shadow 陳之佛作柳蔭雁鴨圖
(28) 陳半丁 Chen Banding 陈半丁 (1 幅/pc)
1. Chen Banding Flowers and Birds 陳半丁 ( 陳年 ) 作花鳥圖
(29) 馮超然 Feng Chaoran 冯超然 (1 幅/pc)
1. Feng Chaoran Landscape 馮超然作山水圖
(30) 鄭板橋 Zheng Banqiao 郑板桥 (1 幅/pc)
1. Zheng Banqiao Orchids Bamboos and Rocks 鄭板橋作蘭竹石圖

Works of Art 藝術品:

Antiques 古董
(1) 古董 Antiques (2 件/pcs)
1. A Bronze Money-Shaking Fortune Tree Qing Dynasty China 中國清朝青銅搖錢樹
2. A Gilt-Bronze Guanyin Bodhisattva Figure Tang Dynasty China 中國唐朝銅鎏金觀音菩薩造像
(2) 玉 Jades (8 件/pcs)
1. A White Jade Pig-and-Bird-Winged Dragon Winged Mythical Beast Hongshan Culture China 中國紅山文化古白玉雕豬鳥翼形龍
2. A White Jade Persian Face Elephant Puzzle Han Dynasty China 中國漢朝古玉雕波斯人面大象紋益智拼圖
3. A Green Jade Sword Token of Imperial Authority by Emperor Shang Dynasty China 中國商朝古青玉雕玉劍令牌
4. A Jade Fish Wine-Cup Western Zhou Dynasty China 中國西周古玉雕魚形酒杯
5. A Red Jade Military Token Qing Dynasty China 中國清朝古紅玉雕軍事玉令牌
6. A White Jade Cavalrymen War Horses Halberds of Middle Sizes Militarism Worship Cong of the First Emperor of Qin 中國東周戰國至秦朝時期古白玉雕騎兵戰馬中戟紋秦始皇帝崇武玉琮
7. A Pale Celadon Greenish White Jade Linking Nipple Grain Phoenix Twisted Ropes Heaven Worship Bi of Nation Chu 中國東周戰國時期古青白玉淺浮雕勾連乳丁穀紋鳳紋扭繩紋楚國祭天玉璧
8. A Celadon Green Jade Twisted Ropes Triple Sitting Hornless Dragons Green-Dragon-Son-of-Heaven Pendant 中國西周時期古青玉雕扭繩紋三盤螭龍青龍天子珮
(3) 羊脂白玉 Mutton Fat White Jades (2 件/pcs)
1. A Mutton Fat White Jade Linking Clouds Royal Dragon Pendant Western Han Dynasty China 中國西漢古羊脂白玉透空圓雕勾連雲紋龍形珮
2. A Coincident Carved Khotan Russet Skin Mutton Fat White Jade Sitting Double-humped Camel Western Han Dynasty China 中國西漢和闐黑棗皮古羊脂白玉巧雕坐姿雙峯駱駝



Welcome to identify your Chinese Paintings and Works of Art! Our help is free of charge!
歡迎辨識您的中國書畫及藝術品! 我們的協助是免費的!

E-mail 電子郵件信箱:



An art seller can also be an art buyer! 一位藝術品的賣方也可能是一位藝術品的買方!

We are not artists. We collect paintings and works of art and make deals. At present we are making deals with famous governmental museums, but usually it takes several months to run the necessary governmental purchasing procedures. Once we get millions of funds from selling few of what we have already collected, we could become an art buyer again at any moment for certain, because we do have done collecting several hundred millions worth of art for decades by interests. So an art seller can also be an art buyer up to the different market situation that is going on.

我們不是藝術家. 我們收藏書畫及藝術品也進行交易. 目前我們正在與有名的政府設立美術博物館交易中, 但是需要費時數月來完成必要的政府採購程序. 一旦我們從銷售我們收藏品的部分而得到數百萬美元的資金時, 我們確定也將再成為藝術品的收購者, 因為基於興趣我們已經收藏有價值數億美元的藝術品達數十年之久. 因此, 一位藝術品的賣方也可能是一位藝術品的買方, 完全視不同的市場狀況演變而定.

Be a good seller and be a good buyer!
成為一個好賣方及成為一個好買方!

A good seller will sell bona fide!
一個好賣方將誠實無欺地賣出!

A good buyer will learn everything necessary to buy lest he/she should pay the tuition fee for practice! 
一個好買方將學習如何買的一切必要知識以免繳交練習學費!








  29 件重要又稀少之中國瓷器 
29 Important and Rare Chinese Ceramics


(01) 清朝雍正御製官窯黃地畫琺瑯彩瓷胎錦雉嘉耦花鳥牡丹圖碗
     
A Yongzheng Enameled Yellow Ground Colorful Pheasants Devoted Couple Peonies Flowers and Birds Porcelain Bowl Imperial Palace Workshop Yongzheng period Qing Dynasty


(02) 清朝乾隆年製官窯黃地畫琺瑯彩瓷胎四面開光西洋人物及紅彩山水圖碗
     
A Yongzheng Enameled Yellow Ground Four Windows Western Figures and Red-decorated Landscape Porcelain Bowl Imperial Palace Workshop Qianlong period Qing Dynasty



(03) 元朝粉青釉執壺連蓋
     
A Celadon-glazed Wine Pot with Cover Yuan Dynasty


(04) 大明成化年製官窯鬥彩葡萄紋高足杯
     
A Chenghua Doucai Grapes Stemcup Ming Dynasty Imperial Palace Workshop Chenghua Period Ming Dynasty


(05) 北宋汝窯青釉雙龍雙羊首印花紋半邊折沿三足洗
     
A Ru-kiln Celadon-glazed Dual Dragon and Dual Sheep-head Mark Porcelain Tripod Brush Washer with Semicircle-bent-mouth-edge Northern Song Dynasty


(06) 元博陵第款青花龍鳳紋四系扁瓶
     
A Blue and White Bolingdi Mark Dragon and Phoenix Moonflask with four Handles Yuan Dynasty


(07) 元釉裏紅龍鳳紋四系扁瓶
     
A Red-underglazed Dragon and Phoenix Moonflask with four Handles Yuan Dynasty


(08) 大明成化年製鬥彩海濤五爪龍紋天字罐
     
A Chenghua Doucai Sea Waves and Five-Claws Dragon Tianziguan Jar with Cover Chenghua period Ming Dynasty


(09) 明永樂官窯青花內外底龍戲珠紋棱口洗
     
A Blue and White Five-Claws Dragon playing Dragon-pearl-ball Decalobed Waterpot Imperial Palace Workshop Yongle Period Ming Dynasty


(10) 明永樂年製官窯薄胎青花嬰戲圖大碗
     
A Blue and White Playing Kids Eggshell Bowl Imperial Palace Workshop Yongle Period Ming Dynasty


(11) 大明萬曆年製青花礬紅彩鬥彩海浪蝦禽獸紋大碗
     
A Blue and White Red-glazed Doucai Sea Waves Shrimp Birds and Beasts Bowl Wanli Period Ming Dynasty


(12) 明朝正統年製官窯五彩歐洲使節天朝進貢人物風景紋天球瓶
     
A Rare and Fine Wucai European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Four-character Seal-mark Ming Dynasty


(13) 清朝雍正年製官窯畫琺瑯彩瓷胎牡丹花鳥圖瓶
     
A Yongzheng Enameled Peonies Flowers and Birds Porcelain Vase Imperial Palace Workshop Yongzheng period Qing Dynasty


(14) 大明成化年製鬥彩花鳥紋高足杯
     
A Chenghua Doucai Stemcup


(15) 大明宣德年製官窯青花魚藻纏枝蓮花卉紋大盤
     
A Large Blue and White Fish Algae Lotus Dish Imperial Palace Workshop Xuande Period (1426 - 1435) Ming Dynasty


(16) 大明宣德年製官窯青花五爪龍鳳纏枝蓮花卉紋盤
     
A Blue and White Five-Claws Dragon and Phoenix Lotus Dish Imperial Palace Workshop Xuande Period Ming Dynasty


(17) 大明宣德年製官窯青花團龍鳳紋葵式洗
     
A Blue and White Five-Claws Dragon and Phoenix Decalobed Waterpot Imperial Palace Workshop Xuande Period Ming Dynasty


(18) 大明成化年製鬥彩雞缸杯
     
A Chenghua Doucai Chicken Cup



(19) 大清雍正年製官窯畫琺瑯彩瓷胎錦雉嘉耦花鳥牡丹圖碗
     
A Yongzheng Enameled Colorful Pheasants Devoted Couple Peonies Flowers and Birds Porcelain Bowl Imperial Palace Workshop Yongzheng period Qing Dynasty


(20) 清朝雍正年製官窯畫琺瑯彩瓷胎南雁北歸花鳥圖碗
     
A Yongzheng Enameled Northward-returning Southern Wild Geese Flowers and Birds Porcelain Bowl Imperial Palace Workshop Yongzheng period Qing Dynasty


(21) 大明宣德年製青花雙龍蓮紋合碗連蓋
     
A Blue and White Dual Dragon and Lotus Flower Bowl with Cover Imperial Palace Workshop Xuande Period Ming Dynasty


(22) 北宋汝窯青瓷十瓣蓮花小碗
     
A Blue Ru-Kiln-Porcelain Ware Ten-Petaled Lotus Small Bowl Northern Song Dynasty


(23) 大明成化年製官窯鬥彩嬰戲杯
     
A Chenghua Doucai Playing Children Cup Ming Dynasty Imperial Palace Workshop Chenghua Period Ming Dynasty


(24) 大明永樂年製官窯青花纏枝蓮穿花三爪行龍紋天球瓶
     
A Blue and White Three-Claws Dragon against Lotus-scroll background Hemispherical Bottle Imperial Palace Workshop Yongle Period Ming Dynasty


(25) 元朝霽藍釉地底足內甜白釉刻大元國成吉思汗萬歲萬萬歲內府公用龍紋款三爪白龍紋梅瓶
     
A Sapphire-blue-glazed Blue Ground Three-Claws White Dragon Meiping Vase with White-glazed Base carved Dragon and mark-inscribed Long Live Long Long Live the Great Yuan Empire Genghis Khan and for imperial public usage only Yuan Dynasty


(26) 大明宣德年製官窯釉裏紅蓮塘魚藻紋棱口洗
     
A Red-underglazed Lotus Pond Fish Algae Decalobed Waterpot Imperial Palace Workshop Xuande Period Ming Dynasty


(27) 大明成化年製官窯青花薄胎西洋徽章紋碗
     
A Chenghua Blue and White Western Badge Eggshell Bowl Imperial Palace Workshop Chenghua Period Ming Dynasty



來源:明朝洪武18年(西元1385年)被明朝皇帝任命為軍事元帥職陳秀甫公第20世代子孫陳萬承家族之祖傳傳世品

Provenance:  The family handed-down ancestral collection of the 20th generation descendant 陳萬承 (Chen wan cheng) from the ancestor 陳秀甫 (Chen xiu fu) who was nominated as military Marshal by Ming Emperor in Hongwu 18th year ( A. D. 1385 ) Ming Dynasty.

(28) 大明宣德年製海床撈出傳奇絲路中國外銷經中東至歐洲霽藍釉刻花卉紋梅瓶

尺寸: 高 33.50 公分, 最大腹徑 21 公分, 口徑 4.80 公分, 足徑 11.00 公分.

A Seabed-unearthed en route the legendary Silk Road from China to Europe via Middle East Sapphire-blue-glazed Blue Ground Flowers Carved Meiping Vase Imperial Palace Workshop Xuande Period (1426 - 1435) Ming Dynasty

Size: Height 33.50 cm, Maximum Abdomen Diameter 21 cm, Top Mouth Diameter 4.80 cm, Round Base-stand Foot Diameter 11.00 cm.


(29) 海撈大清雍正年內務府唐英督管(景德鎮)珠山御窯廠窯務制宮廷貢品宮廷專用皇帝賞珍青花花鳥紋瓶 

尺寸: 高 45.50 公分, 最大腹徑 19 公分, 口徑 12.50 公分, 足徑 11.00 公分. 

A Seabed-unearthed en route from Jingdezhen Zhushan Imperial Palace Workshop supervised by Tangying to Beijing Palace for exclusive Palace usage and for the Emperor’s appreciation Blue and White Flowers and Birds Vase Yongzheng Period (1723 - 1735) Qing Dynasty 

Size: Height 45.50 cm, Maximum Abdomen Diameter 19 cm, Top Mouth Diameter 12.50 cm, Round Base-stand Foot Diameter 11.00 cm. 


It's a wonderful and magic world. If you could not find treasures in the earth, then you can find them in the sea. A treasure should have been only for the Emperors at Beijing Palace in Great Qing Dynasty or for the Emperors in the Europe or in the Middle East in the 15th century, however it became for the Emperor in the sea.

這是個傳奇而美妙的世界. 假如在土中找不到寶物, 可以在海裡找到! 本應是屬於北京紫禁城皇宮內大清皇帝或是15世紀歐洲或中東君王賞珍之寶的中國名瓷, 卻成為海龍王賞珍之寶.

海床撈出中國名瓷更加珍貴無比 
The Chinese Fine Ceramics unearthed in the seabed are much more valuable and priceless 

藏在海床污泥內的中國名瓷, 與空氣完全隔離, 宛如置於時空膠囊中, 只要將其瓷體表面的海床污泥刷洗乾淨, 再用淨水泡洗沖刷除去瓷體表面所寄生之海殼類生物體, 即可煥然一新, 正與數百年前剛燒好出窯時的狀況差不多。 官窯瓷器製造堅固,海潮及海浪無法輕易地破壞海中的官窯瓷器。因此, 它們提供了最正確的到代參數資料庫如胎質、胎土、釉面、彩料、紋飾、氣泡、工法、燒法、火石紅、開片、款識、底足、內胎、年代、……等等, 而掌握了這些正確的歷史數據資料, 即等同於具備了過去於瓷器剛燒好出窯時所能取得的相關瓷器鑑定知識,縱使是現代人完全無法回到數百年前之過去年代。

The Chinese Fine Ceramics hidden in the seabed sludge are completely isolated from the air as if they were placed in a time capsule. So long as their seabed sludge on the surface of ceramic body is scrubbed clean, then to soak them in the fresh water and to wash away the parasitic sea crustacean organism off the surface of porcelain with soft brush, they look brand-new as it were just burnt out of the kiln several hundreds of years ago. The ceramics from the Imperial Palace Workshop were all made firm and rigid. The sea tides and waves are not easily to destroy them in the sea. Therefore, they provide the most accurate information to the proper generation database of parameters such as porcelain, clay, glaze surface, color material, ornamentation, bubbles, construction method, burning method, flint fire-burnt red, crackles, inscription, basement at bottom, inner wall, year,...... etc, and to master these correct historical data is tantamount to have a relevant authentication knowledge to identify true ceramics at the time when they were just burnt good out of the kiln even if modern people are completely unable to return to the past several hundreds of years ago.










Thirty pieces of Fine and Rare Chinese Archaic Ceramics
30 件重要又稀少之中國瓷器





(01)01-A Song Celadon Porcelain Moon-flask with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design and two Dragon Handles Imperial Palace Workshop Xuanhe four-character dark-brown seal mark and of the period (1119-1125) Song dynasty.




Size:
Height 22.2 x Maximum Abdomen Width 16.5 x Top Mouth Diameter 5.4 x Maximum elliptical Base-stand foot Diameter 8.2 x Minimum elliptical Base-stand foot Diameter 5.1 cm

Authentication:
(1) Having both gold and black colored crackles in Song dynasty those have not been successfully made nowadays.
(2) Having violet colored mouth edge in Song dynasty.
(3) Having black colored foot edge in Song dynasty.
(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.
(5) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.










(02)02-A Song Celadon Porcelain Vase with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design and two Pipe-like Handles Imperial Palace Workshop one-character dark-brown official seal mark Song dynasty (960-1279).





Size:
Height 26 x Maximum Abdomen Diameter 15 x Maximum Top Mouth Diameter 10.1 x Maximum elliptical Base-stand foot Diameter 11.7 x Minimum elliptical Base-stand foot Diameter 9.9 cm

Authentication:
(1) Having both light-gold-white and black colored crackles in Song dynasty those have not been successfully made nowadays.
(2) Having violet colored mouth edge in Song dynasty.
(3) Having black colored foot edge in Song dynasty.
(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.
(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) A similar same-period object has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-014022-N000000000 Imperial Palace Workshop Southern-Song dynasty (1127-1279) Size: Height 26.6 x Maximum Top Mouth Diameter 11 cm.










(03)03-A Song Celadon Porcelain Six-petaled Lotus Vase with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design Imperial Palace Workshop one-character dark-brown official seal mark Song dynasty (960-1279).





Size:
Height 22 x Maximum Abdomen Diameter 12 x Maximum Top Mouth Diameter 9.6 x Maximum Six-petaled Lotus round Base-stand foot Diameter 7.2 cm

Authentication:
(1) Having both light-gold-white and black colored crackles in Song dynasty those have not been successfully made nowadays.
(2) Having violet colored mouth edge in Song dynasty.
(3) Having black colored foot edge in Song dynasty.
(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.
(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.










(04)04-A Song Ru Kiln Sky-blue-glazed Porcelain Bottle with two Ears and Plate Mouth Northern-Song dynasty (960-1127).




Size:
Height 21.3 x Maximum Abdomen Diameter 9 x Top Mouth Diameter 6.4 x round Base-stand foot Diameter 7 cm

Authentication:
(1) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song dynasty those should have been generated for hundreds of years.
(2) Having light-glazed mouth edge in Song dynasty.
(3) Having five burning-supporting nail-head marks whose shapes are as small round millets at the outer bottom of the bottle those should have been made in the Ru kiln Song dynasty.
(4) Having fire-flint earth-yellow colors inside the five burning-supporting nail-head marks at the outer surface of bottom and shrunk-glaze-holes around the porcelain body in the Ru kiln Song dynasty those should have been generated for hundreds of years.
(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song dynasty that has not been used nowadays.










(05)05-A Song Ru Kiln Sky-blue-glazed Porcelain Small Dish with Crackles Northern-Song dynasty (960-1127).




Size:
Height 3.1 x Top Mouth Diameter 13.9 x round Base-stand foot Diameter 9.3 cm

Authentication:
(1) Having the marks of agate being mixed in the glaze those should have been made in the Ru kiln Song dynasty.
(2) Having light-glazed foot edge in Song dynasty.
(3) Having three burning-supporting nail-head marks whose shapes are as small elliptical millets at the outer bottom of the small dish those should have been made in the Ru kiln Song dynasty.
(4) Having fire-flint earth-yellow colors inside the three burning-supporting nail-head marks at the outer surface of bottom in the Ru kiln Song dynasty those should have been generated for hundreds of years.
(5) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song dynasty that has not been used nowadays.
(9) A similar same-period object has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-009827-N000000000 Imperial Palace Workshop Northern-Song dynasty (960-1127) Size: Height 3.3 x Top Mouth Diameter 13 x round Base-stand foot Diameter 9 cm.










(06)06-A Song Jun-kiln Celadon-glazed and Copper-red Porcelain Dish with Crackles Song dynasty (960-1279).





Size:
Height 4 x Top Mouth Diameter 18.6 x round Base-stand foot Diameter 8.6 cm

Authentication:
(1) Having a copper-red colored mark mixed in the celadon-glazed surface that should have been made in the Jun kiln Song dynasty.
(2) Having light-glazed mouth edge in Song dynasty.
(3) Having manually pulled spiral shapes at the outer wall and bottom of the dish those should have been made in the Jun kiln Song dynasty.
(4) Having fire-flint earth-yellow colors at the outer wall and bottom clay of the dish those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked light-colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song dynasty that has not been used nowadays.










(07)07-A Song Jun-kiln Celadon-glazed and Copper-red Porcelain Vase with two handles and Crackles Song dynasty (960-1279).




Size:
Height 18 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 4.6 x round Base-stand foot Diameter 5.6 cm

Authentication:
(1) Having a copper-red colored mark mixed in the celadon-glazed surface that should have been made in the Jun kiln Song dynasty.
(2) Having light-glazed mouth edge in Song dynasty.
(3) Having manually pulled spiral shapes at the outer wall and bottom of the vase those should have been made in the Jun kiln Song dynasty.
(4) Having fire-flint earth-yellow colors at the outer wall and bottom clay of the vase those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked light-colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song dynasty that has not been used nowadays.










(08)08-A Liao Celadon-glazed Porcelain Leather-bag-flask with Horse-riding Design and crackles (Broken Handle) Liao dynasty (1031-1218).




Size:
Height 33.3 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 4.6 x round Base-stand foot Diameter 10.4 cm

Authentication:
(1) Having leather-bag-flask with horse-riding design that should have been made in the Liao dynasty.
(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song/Liao/Yuan dynasty those should have been generated for hundreds of years.
(3) Having manually pulled spiral shapes at the bottom of the flask those should have been made in the Song/Liao/Yuan dynasty.
(4) Having fire-flint earth-yellow colors at the bottom clay of the flask and the shrunk-glaze-holes on the porcelain body those should have been generated for hundreds of years.
(5) Having manually glaze-painting technique in Song/Liao/Yuan dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song/Liao/Yuan dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow colored crackles through the earth in Song/Liao/Yuan dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song/Liao/Yuan dynasty that has not been used nowadays.










(09)09-A Yuan Blue and White Jar with Octagon-mouth Lotus-shaped Cover and Walking Three-claw Dragon Design Yuan dynasty (1206-1368).




Size:
Height with cover 33 x Height without cover 28 x Maximum Abdomen Diameter 33 x Maximum Top Octagon-Mouth Width 19.7 x Maximum Bottom Octagon-Base-stand foot Width 21.3 cm

Authentication:
(1) Having a walking three-claw dragon design that should have been made in the Yuan dynasty.
(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them at both outer and inner wall of the jar as well as the cover in Yuan dynasty those should have been generated for hundreds of years.
(3) Having manually pulled spiral shapes at the bottom of the jar and the inner wall of the cover those should have been made in the Yuan dynasty.
(4) Having fire-flint earth-yellow colors at the bottom clay of the jar and the shrunk-glaze-holes on the porcelain body those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting technique in Yuan dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size everywhere at the glaze painted body as bubble-sea in Yuan dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having a pale greenish lake-water-like tinge out of white on the surface in Yuan dynasty that should have been formed in the ancient wood-burning kiln.
(8) Having dry clay in Yuan dynasty that has not been used nowadays.
(9) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.










(10)10-A Yuan Blue and White Under-glaze Red Porcelain Mongolia-dwelling-tent-bowl with cover and Floral Phoenix Design Yuan dynasty (1206-1368).





Size:
Height with cover 15.5 x Height without cover 8.5 x Top Mouth Diameter 25 x round Base-stand foot Diameter 17 cm

Authentication:
(1) Having a phoenix totem on the Mongolia-dwelling-tent-shape cover design that should have been made in the Yuan dynasty.
(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them at both outer and inner wall of the bowl as well as the cover in Yuan dynasty those should have been generated for hundreds of years.
(3) Having manually pulled spiral shapes at the bottom of the bowl and the inner wall of the cover those should have been made in the Yuan dynasty.
(4) Having fire-flint earth-yellow colors at the bottom clay of the bowl and the shrunk-glaze-holes as well as the unglazed clay on the porcelain body those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting technique in Yuan dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and red colors as bubble-sea in Yuan dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having a pale greenish lake-water-like tinge out of white on the surface in Yuan dynasty that should have been formed in the ancient wood-burning kiln.
(8) Having dry clay in Yuan dynasty that has not been used nowadays.
(9) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.
(10) A similar same-period object has been collected in the State Hermitage Museum, St. Petersburg, Russia. This object was also lent to be exhibited in Jan. 2013 at the Shanghai Museum, Shanghai, China.










(11)11-A Xuande Blue and White and Under-glaze Red Porcelain Moon-flask with Floral and Eight-treasures Design and two Handles Imperial Palace Workshop Xuande period (1426-1435) Ming dynasty.




Size:
Height 30.5 x Maximum Abdomen Diameter 22 x Depth 10 x Top Mouth Diameter 5 x rectangular Base-stand foot Length 9.8 x rectangular Base-stand foot Width 6.8 cm

Authentication:
(1) Having an eight-treasure design that should have been made in the Yuan/early-Ming dynasty.
(2) Having shrunk-glaze-holes at the outer wall of the flask in Ming dynasty.
(3) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.
(4) Having fire-flint earth-yellow colors at the bottom foot clay those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and red colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.
(8) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.










(12)12-A Xuande Blue and White Bottle Gourd Porcelain Vase with Floral Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.




Size:
Height 34 x Maximum Abdomen Diameter 18 x Top Mouth Diameter 3.5 x round Base-stand foot Diameter 11 cm

Authentication:
(1) Having a bottle gourd design that should have been made in the Yuan/early-Ming dynasty.
(2) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.
(3) Having fire-flint earth-grey colors at the bottom foot clay those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and white colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(6) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.
(7) Having manually pulled spiral shapes at the bottom of the vase and the inner wall of the mouth those should have been made in the Yuan/Ming dynasty.
(8) Having dry clay in Yuan/Ming dynasty that has not been used nowadays.
(9) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.










(13)13-A Xuande Blue and White Porcelain Bowl with Walking Five-claw Dragon Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.




Size:
Height 10.8 x Top Mouth Diameter 21.8 x round Base-stand foot Diameter 8.6 cm

Authentication:
(1) Having a walking five-claw dragon design that should have been made in the Ming dynasty.
(2) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.
(3) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and white colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(6) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.
(7) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.










(14)14-A Xuande Blue and White Porcelain Stemcup with Pine Bamboo and Plum Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.




Size:
Height 10.4 x Maximum Abdomen Diameter 8 x Top Mouth Diameter 11.2 x round Base-stand foot Diameter 5.2 cm

Authentication:
(1) Having a stem-cup design that should have been made in the Yuan/Ming dynasty.
(2) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.
(3) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and white colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(6) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.
(7) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.
(8) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.










(15)15-A Chenghua Doucai Red Porcelain Cup with Double Phoenixes Design and Crackles Imperial Palace Workshop Chenghua six-character blue seal mark and of the period (1465-1487) Ming dynasty.




Size:
Height 5.5 x Top Mouth Diameter 9 x round Base-stand foot Diameter 4 cm

Authentication:
(1) Having a Doucai phoenix design that should have been made in the Chenghua period Ming dynasty.
(2) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and white colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on green and yellow colored portion those should have been formed for hundreds of years.
(6) Having both red and ivory-yellow colored clay that has been exhausted and not been used nowadays.










(16)16-A Kangxi Famille Verte (Wucai) Porcelain Vase with Dragon and Phoenix Design Imperial Palace Workshop Kangxi six-character blue seal mark and of the period (1662-1722) Qing dynasty.





Size:
Height 43 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 16.2 x round Base-stand foot Diameter 14 cm

Authentication:
(1) Having a famille verte (Wucai) dragon and phoenix design that should have been made in the Kangxi period Qing dynasty.
(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon blue, red and white colors as bubble-sea in the Kangxi period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on green and yellow colored portion those should have been formed for hundreds of years.
(6) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the Yuan/Ming/early-Qing dynasty.










(17)17-A Yongzheng Enameled in the Famille Rose palette Porcelain Vase with Floral and Butterflies Design Imperial Palace Workshop Yongzheng six-character blue seal mark and of the period (1723-1735) Qing dynasty.




Size:
Height 41 x Maximum Abdomen Diameter 22 x Top Mouth Diameter 10.8 x round Base-stand foot Diameter 13.3 cm

Authentication:
(1) Having an Enameled in the Famille Rose palette Floral and Butterflies Design that should have been made in the Yongzheng/Qianlong period Qing dynasty.
(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually heavy-glaze-painting technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white and red colors as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on green, yellow and milky-white colored portion those should have been formed for hundreds of years.
(6) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the Yongzheng/Qianlong dynasty.
(7) Having the inner-shell-of-bivalve-reflecting clam-light on milky-white colored Famille Rose palette that should have been formed for hundreds of years.










(18)18-A Yongzheng Enameled Eggshell Porcelain Vase with Western Family and a Villa Garden Design Imperial Palace Workshop Yongzheng four-character blue seal mark and of the period (1723-1735) Qing dynasty.







Size:
Height 23.5 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 7.6 x round Base-stand foot Diameter 6.2 cm

Authentication:
(1) Having an enameled western Family and a villa garden together with fine and delicate painting, calligraphy, three red leisure seals, and poem Design that should have been made in the Yongzheng/Qianlong period Qing dynasty.
(2) Having an eggshell manual-body-construction technique that has not been done successfully nowadays.
(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white and golden surfaces together with sky-green base as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on sky-green colors at outer-base, inner wall at the top mouth, and floral decorations at top, neck and bottom, yellow flower at garden, green leaves at the hat on head of the man those should have been formed for hundreds of years.
(6) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the Yongzheng/Qianlong dynasty.
(7) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.










(19)19-A Qianlong Enameled Porcelain Vase with Flowers and Birds Peacock and Peahen Design Imperial Palace Workshop Qianlong six-character blue seal mark and of the period (1736-1795) Qing dynasty.







Size:
Height 32.5 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 6.3 x round Base-stand foot Diameter 10.1 cm

Authentication:
(1) Having an enameled flowers and birds peacock and peahen together with fine and delicate painting, calligraphy, three red leisure seals, and poem Design that should have been made in the Yongzheng/Qianlong period Qing dynasty.
(2) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white surface and green color at peacock tail feathers as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on green colored leaves and yellow cheek of peacock head those should have been formed for hundreds of years.
(6) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.
(7) An enameled porcelain bowl with similar peacock design has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-013983-N000000000 Imperial Palace Workshop Yongzheng four-character blue seal mark and of the period (1723-1735) Qing dynasty Size: Height 15.2 cm. This bowl was lent to be exhibited in the Tokyo National Museum Japan from 2014/6/24 to 2014/9/15 and the Kyushu National Museum Japan from 2014/10/7 to 2014/11/30.










(20)20-A Qianlong Enameled Porcelain Bowl with Yellow Ground Four Windows Western Figures and Red-decorated Landscape Design Imperial Palace Workshop Qianlong four-character blue seal mark and of the period (1736-1795) Qing dynasty.




Size:
Height 6.8 x Top Mouth Diameter 15.1 x round Base-stand foot Diameter 6.7 cm

Authentication:
(1) Having an enameled yellow ground, four windows, western figures and red-decorated landscape Design that should have been made in the Qianlong period Qing dynasty.
(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white and red colors as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on yellow, blue, sky-blue ground at the outer wall, sky-green ground at the inner wall and outer bottom of bowl those should have been formed for hundreds of years.
(6) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.










(21)21-A Northern Song Ding Kiln White ground Wucai Porcelain Lotus-mouth shaped Vase with carved and gilt Playing Children by Butterfly and Flowers Design and two Elephant-trunk Handles (two cracks in the neck) Imperial Palace Workshop two-character “Yi Ding” carved and gilt seal mark Northern Song (960-1127) dynasty.





Size:
Height 28.5 x Maximum Abdomen Width 14 x Maximum Top Mouth Length 7.2 x Minimum Top Mouth Width 6.3 x round Base-stand foot Diameter 7.7 cm

Authentication:
(1) Having both glazed teardrops, and bamboo-silk-brushed manually pulled round circle lines under the glaze by Ding Kiln in Northern Song dynasty those are not made by the modern techniques.
(2) Having two-character “Yi Ding” carved and gilt seal mark by Ding Kiln in Northern Song dynasty that is not made by the modern technique.
(3) Having sixteen-character “Lotus giving birth to its Lotus Flower, Lotus planting in the River and giving birth to its Lotus Blossoms, Dedicating with it at the center of the River to the Buddha!” carved and gilt imperial Buddhist blessing inscription for the Buddha by Ding Kiln in Northern Song dynasty that is not made by the modern technique.
(4) Having fire-flint earth-yellow colors at the foot edge in Northern Song dynasty those should have been generated for hundreds of years.
(5) Having manually glaze-painting technique in Northern Song dynasty that has not been used nowadays.
(6) Having deeply earth-water-soaked colored spots all-over the surface of the vase by Ding Kiln in Northern Song dynasty those should have been generated for hundreds of years.










(22)22-A Yongle Blue and White quadruped Water-dropper with Flowers and Phoenixes on Sea Waves Design and Sea Ship Shape Imperial Palace Workshop Yongle four-character carved seal mark and of the period (1403-1424) Ming dynasty.





Size:
Height 20 x Length 22 x Width 11 x quadruped Base-stand foot Length 12 x quadruped Base-stand foot Width 5 cm

Authentication:
(1) Having Flowers and Phoenixes on Sea Waves Design and Sea Ship Shape those should have been made in the Yongle period Ming dynasty during the great sea adventures by Zheng Ho (1371-1435) who was a powerful imperial eunuch of the Emperor Yongle and was commanded to sail for seven expeditions as far as the east coast of Africa and seashores of Red Sea with a large imperial fleet from 1405 to 1433.
(2) Having fire-flint red colors at the bottom clay those should have been generated for hundreds of years.
(3) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and red colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.
(6) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.
(7) Having Yongle four-character carved seal mark at the bottom clay that is not made by the modern technique.










(23)23-A Tang Sancai Pottery Vase with four Dragon-heads, four Plum Blossoms, four Rings, twisted Ropes Design and very fine crackles together with the inner-shell-of-bivalve-reflecting clam-light Tang Dynasty (618-907).







Size:
Height 27 x Maximum Abdomen Diameter 26.5 x round Base-stand foot Diameter 11.8 cm

Authentication:
(1) Having both glazed teardrops, and manually pulled round circle lines under the glaze by Tang Sancai Kiln in Tang dynasty those are not made by the modern techniques.
(2) Having burned-out remains of stepping-earth at the foot bottom by Tang Sancai Kiln in Tang dynasty those are not made by the modern techniques.
(3) Having manually glaze-painting technique by Tang Sancai Kiln in Tang dynasty that has not been used nowadays.
(4) Having very fine spider’s-web-crackles with white dots all-over the glazed surface of the vase those should have been generated for hundreds of years.
(5) Having fine and tiny black sands all-over the surface of the pottery body by Tang Sancai Kiln in Tang dynasty those are not refined by the modern clay-washing technique.
(6) Having the inner-shell-of-bivalve-reflecting clam-light at some surface of the glaze by Tang Sancai Kiln in Tang dynasty that should have been generated for hundreds of years.










(24)24- A Tang Yue Kiln Celadon-glazed Bottle Gourd Porcelain Vase with two Handles and very fine crackles Tang Dynasty (618-907).







Size:
Height 21.5 x Maximum Abdomen Diameter 11.5 x round Base-stand foot Diameter 6.7 cm

Authentication:
(1) Having manually glaze-painting technique in Tang dynasty that has not been used nowadays.
(2) Having thin-and-light-celadon-glazed surface by Yue Kiln in Tang dynasty.
(3) Having five burning-supporting nail-head marks whose shapes are as slim pine seeds at the outer bottom of the vase those should have been made by the Yue Kiln in Tang dynasty.
(4) Having under-glaze bubbles of random size at random place by the Yue Kiln in Tang dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having dry grey-white clay in Tang dynasty that has not been used nowadays.
(6) Having wide-opened ditch-shaped crackles all-over the celadon-glazed surface of the vase those should have been generated for hundreds of years.
(7) Having fine and tiny black sands all-over the surface of the body clay by the Yue Kiln in Tang dynasty those are not refined by the modern clay-washing technique.










(25)25-A Northern Song Ding Kiln White Porcelain Meiping Vase with carved Flowers Design and crackles Imperial Palace Workshop two-character “Yi Ding” carved seal mark Northern Song (960-1127) dynasty.







Size:
Height 28.5 x Maximum Abdomen Width 15 x Top Mouth Diameter 3.7 x round Base-stand foot Diameter 8.4 cm

Authentication:
(1) Having both glazed teardrops, and bamboo-silk-brushed manually pulled round circle lines under the glaze by Ding Kiln in Northern Song dynasty those are not made by the modern techniques.
(2) Having two-character “Yi Ding” carved seal mark by Ding Kiln in Northern Song dynasty that is not made by the modern technique.
(3) Having fire-flint grey-white colors at the foot edge in Northern Song dynasty those should have been generated for hundreds of years.
(4) Having manually glaze-painting technique in Northern Song dynasty that has not been used nowadays.
(5) Having fine ice-crackles all-over the white glazed surface of the vase those should have been generated for hundreds of years.
(6) Having fine and tiny black sands all-over the surface of the porcelain body by Ding Kiln in Northern Song dynasty those are not refined by the modern clay-washing technique.
(7) Having milky-white color of the white glaze by Ding Kiln in Northern Song dynasty that is not the pure white color of the white glaze used by the modern technique.










(26)26-A Tang Sancai Pottery Dish with four Fishes, four Blossoms, eight Lotus Petal-rim Design and very fine crackles together with the inner-shell-of-bivalve-reflecting clam-light Tang Dynasty (618-907).







Size:
Height 3.4 x Diameter 18 x round Base-stand foot Diameter 5.5 cm

Authentication:
(1) Having both glazed teardrops, and manually pulled round circle lines under the glaze by Tang Sancai Kiln in Tang dynasty those are not made by the modern techniques.
(2) Having three burning-supporting nail-head marks whose shapes are as small round rice at the outer bottom of the dish that has the same 3.9 cm distance between each burning-supporting nail-head mark as the three burning-supporting nail-head model in the Tang Sancai kiln unearthed at the Huang Ye Kiln in Gong YI City Henan Province China those are not made by the modern techniques.
(3) Having white color pottery at the three burning-supporting nail-head marks that is not used by the modern porcelain clay material.
(4) Having manually glaze-painting technique by Tang Sancai Kiln in Tang dynasty that has not been used nowadays.
(5) Having very fine spider’s-web-crackles with white and dark dots all-over the glazed surface of the dish those should have been generated for hundreds of years.
(6) Having fine and tiny dark sands all-over the surface of the pottery body by Tang Sancai Kiln in Tang dynasty those are not refined by the modern clay-washing technique.
(7) Having the inner-shell-of-bivalve-reflecting clam-light at some surface of the glaze by Tang Sancai Kiln in Tang dynasty that should have been generated for hundreds of years.

(8) There are several similar Tang Sancai Pottery Dishes collected by the Musée Guimet in Paris France and the Metropolitan museun of Art in New York U.S.A.











(27)27-A Song Celadon Porcelain Guan-type “Touhu (An ancient game-pot to be thrown into arrows)” Vase with Hexagonal body, two Hexagonal tubular lug handles by the mouth and a tall neck, Gold-light-Iron-dark-lines Crackles and Iron-black-foot Design Imperial Palace Workshop Xining Fourth Year four-character carved seal mark and of the year (A.D. 1071) Emperor Shenzong Northern Song dynasty together with the inscription by Emperor Qianlong Qing dynasty in Qianlong Fourth Year (A.D. 1739).







Size:
Height 20.2 x Maximum Abdomen Width 13.2 x Maximum Top Hexagonal Mouth Diameter 5.8 x Maximum Hexagonal Base-stand foot Diameter 9.1 cm

Carved Inscription by Emperor Qianlong Qing dynasty in Qianlong Fourth Year (A.D. 1739):
(1)    In the summer of Great Qing Qianlong Fourth Year (Ji Wei Year), this was set to be the imperial appreciation treasure at Palace Wen Hua (this Palace was set to be the Ceramics Museum of Beijing Palace Museum on July 15th, 2008), with “Qian Style” two-character carved seal mark.
(2)    Xining Fourth Year four-character carved seal mark and of the year (A.D. 1071 Emperor Shenzong Northern Song dynasty).

Authentication:
(1) Having both Gold-light-lines and Iron-dark-lines Crackles in Song dynasty those have not been successfully made nowadays.
(2) Having Iron-black colored foot edge in Song dynasty.
(3) Having fire-flint earth-yellow colors at the foot rim in Song dynasty those should have been generated for hundreds of years.
(4) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(6) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(7) Having dark-black colored clay in Song dynasty at the carved inscription area that is not used by the modern porcelain clay material.
(8) Having fine and tiny dark sands all-over the surface of the body clay in Song dynasty those are not refined by the modern clay-washing technique.
(9) Having sky-green colored celadon glaze in Song dynasty that has not been used nowadays.
(10) Emperor Qianlong Qing dynasty ordered to carve the “Xining Fourth Year” four-character seal mark and of the year (A.D. 1071 Emperor Shenzong Northern Song dynasty) on the surface of the vase and this seal mark has officially proved its age of creation.
(11) Emperor Qianlong Qing dynasty ordered to carve the “In the summer of Great Qing Qianlong Fourth Year (Ji Wei Year), this was set to be the imperial appreciation treasure at Palace Wen Hua (this Palace was set to be the Ceramics Museum of Beijing Palace Museum on July 15th, 2008)”, together with “Qian Style” two-character carved seal mark on the surface of the vase and this inscription has officially proved its valuable treasure-like authenticity.
(12) The carvings of inscription on the surface of the vase by Emperor Qianlong Qing dynasty were made artificially and evenly to be spread upon curved and arched skin glaze of the vase manually with ancient Jade-carving techniques those have not been used nowadays.
(13) The carvings of inscription on the surface of the vase by Emperor Qianlong Qing dynasty contained written Manchu language characters those were historically matched the inscription style of Emperor Qianlong in early Qianlong period upon his favorite Chinese fine and rare paintings and ceramics. In middle and end Qianlong period, his inscription style became all written Chinese language characters without any written Manchu language character. Historically being a Manchu Emperor of Chinese people, he had been assimilated by the Chinese culture while appreciating these fine Chinese works of art.
(14) This Touhu (An ancient game-pot to be thrown into arrows) vase was for an ancient Chinese game during a feast in which the winner was decided by the number of arrows thrown into a distant Touhu pot. A similar same-function celadon Touhu vase has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-003189-N000000000 made by Longquan kiln in Ming dynasty (1368-1644) Size: Height 33.2 x Top Mouth Diameter 9.2 x round Base-stand foot Diameter 13.4 cm.










(28)28-A Song Ru Kiln Sky-blue-glazed Porcelain Bottle with two Ears and Hexagonal body “Cai” one-character carved seal mark and of the period (A.D. 1101- A.D. 1126 Prime Minister Cai Jing of Emperor Huizong Northern Song dynasty) at the bottom outer central surface of the bottle Northern-Song dynasty (960-1127).







Size:
Height 21.3 x Maximum Abdomen Width 9.2 x Maximum Top Hexagonal Mouth Diameter 6.6 x Maximum Hexagonal Base-stand foot Diameter 6.7 cm

Authentication:
(1) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song dynasty those should have been generated for hundreds of years.
(2) Having heavier-and-brighter-colored spots glazed under a different degree those were called Yu Zi (Fish-roe) totems and were the marks of agate being mixed in the glaze those should have been made in the Ru kiln Song dynasty.
(3) Having five burning-supporting nail-head marks whose shapes are as small elliptical sesames at the outer bottom of the bottle those should have been made in the Ru kiln Song dynasty.
(4) Having fire-flint earth-yellow colors inside the five burning-supporting nail-head marks at the outer surface of bottom and shrunk-glaze-holes around the porcelain body in the Ru kiln Song dynasty those should have been generated for hundreds of years.
(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having as few under-glaze bubbles of random size at random place as the morning stars in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song dynasty that has not been used nowadays.
(9) “Cai” one-character carved seal mark and of the period (A.D. 1101- A.D. 1126 Prime Minister Cai Jing of Emperor Huizong Northern Song dynasty) at the bottom outer central surface of the bottle has officially proved its valuable authenticity. This “Cai” one-character carved seal mark was done before it was glazed and burned in the kiln, and should have been made in the Ru kiln Song dynasty.
(10) Having deeply soaked earth-yellow colored skin of the glazed surface through the earth in Song dynasty that should have been generated for hundreds of years.










(29)29-A Yuan Luanbai White glazed Porcelain Ewer Yuan dynasty (1206-1368).







Size:
Height 17.8 x Top Mouth Diameter 6.6 x round Base-stand foot Diameter 6.2 cm

Authentication:
(1) Having both shrunk-glazed spots at the outer rim of foot and fire-flint earth-yellow colors at this area together with the inner wall of the ewer in Yuan dynasty those should have been generated for hundreds of years.
(2) Having manually pulled spiral shapes at the outer bottom and the inner wall of the ewer those should have been made in the Yuan dynasty.
(3) Having fire-flint earth-yellow colors at the bottom clay of the ewer and the shrunk-glazed spots as well as the unglazed clay at the outer rim of foot and the inner wall of the ewer those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting technique in Yuan dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size everywhere at the glaze painted body as bubble-sea in Yuan dynasty those should have been formed in the ancient wood-burning kiln.
(6) Having a greenish duck-eggshell-like tinge out of white on the surface in Yuan dynasty that should have been formed by the unique Luanbai white glaze used in Yuan dynasty and burned in the ancient wood-burning kiln.
(7) Having dry clay in Yuan dynasty that has not been used nowadays.
(8) Having black burned-out remains of round stepping-earth at the foot bottom in Yuan dynasty those are not made by the modern techniques.
(9) Having both glazed teardrops, and bamboo-silk-brushed manually pulled round circle lines under the glaze in Yuan dynasty those are not made by the modern techniques.










(30)30-A Kangxi Blue and White Porcelain Guanyin Vase with Garlic head and Auspicious Clouds together with Cranes Design Imperial Palace Workshop Kangxi four-character blue seal mark and of the period (1662-1722) Qing dynasty.







Size:
Height 29.3 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 7.7 x round Base-stand foot Diameter 8.9 cm

Authentication:
(1) Having fire-flint earth-yellow colors at the foot-rim clay those should have been generated for hundreds of years.
(2) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.
(3) Having under-glaze bubbles of random size everywhere at the glaze painted body upon blue and white colors as bubble-sea in the Kangxi period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(4) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the early-Qing dynasty.
(5) Having domestic Chinese blue and white glazed colors used in the early-Qing dynasty those are light-blue and extra-ordinarily elegant and have not been used nowadays.

(6) Having extremely smooth skin on the glazed surface of the vase that meets with the critical requirement of fine blue and white glazed ceramics from the Imperial Palace Workshop in Kangxi period. 
















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台灣製造 3TB 外接式3.5英吋硬碟儲存裝置







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Beautiful Apparel 美麗衣服
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收藏品年代包含從西元前至西元後;
來源從地下海床到外太空.







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臉書公共社群網站 "藝術精品展售"




Hello! Your beautiful works of art are invited to join a public Facebook group "Fine Art to Sell" to exhibit freely fine art for sale to buyers worldwide.

From Western Oil Paintings to Chinese Watercolor Paintings; from Europe to America via China and Africa by-passing India; from bronze, jade and Jadeite, ceramics, paintings, dinosaur fossils, sculptures, to space meteorites; from century B.C. to A.D.; from US several dollars to millions, and even priceless; from unearthed, unearthed-seabed, to the outer space, you can find many extra-ordinary works of art here in this group!

Over thirty-two thousand increasing group members, most of them are creative and professional Artists, have offered over five thousand and five hundred increasing valuable lots for your appreciation and examinations! It’s completely free to be in and free to be out as your wish and to get your knowledge of worldwide art freely!


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哈囉! 邀請您美麗的藝術作品歡迎加入臉書公共社群網站 "藝術精品展售" 以便向全世界的買家免費展示.

從西方油畫到中國水墨彩畫; 從歐洲至美洲經由中國與非洲路過印度; 從青銅器, 玉器翡翠, 瓷器, 書畫, 恐龍化石, 雕塑, 至太空隕石; 從西元前至西元後; 從數美元至數百千萬美元, 甚至無價之寶; 從地下出土, 海底床出水, 甚至於外太空, 您可在此臉書公共社群網站中找到許多特別好的藝術作品!

超過三萬二千位增加中的會員, 其中絕大部分是富有創造力強而專業的藝術作家, 已經提供了超過五千五百件增加中的名貴藝術作品供您鑑賞! 它是完全免費進入也是免費離開, 且正如您所願, 可以自由進出以取得您的全球藝術知識!



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Over 1,800 photos of fine Chinese works of art including Ceramics and Paintings from large museums worldwide and Sotheby’s auctions as well as Christie’s auctions:
超過1,800在世界各大博物館及蘇富比拍賣與佳士得拍賣之精美中國瓷器及書畫藝術品圖片資料


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Orion Museum and Gallery



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Flickr網站每天有10,000人次閱覽



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