近日 本公司征集精品推薦：字畫、袁大頭
【藏品名稱】：齊白石花鳥畫
[collection name]: Qi Baishi flower and bird painting
【類別】：雜項
Class: miscellaneous
【規格】：長：92cm 寬：41cm
[Specification]: length: 92cm, width: 41cm
齊白石（1864年1月1日—1957年9月16日），原名純芝，字渭青，號蘭亭，后改名璜，字瀕生，號白石、白石山翁、老萍、餓叟、借山吟館主者、寄萍堂上老人、三百石印富翁，祖籍安徽宿州碭山，生于湖南長沙府湘潭（今湖南湘潭），近現代中國繪畫大師，世界文化名人。
Qi Baishi (January 1, 1864-september 16, 1957), formerly known as Chunzhi, was named Weiqing, Lanting, later Huang, and was named Bingsheng. He was named Baishi, Baishi shanweng, Laoping, hungry old man, the owner of jipingtang chanting hall, the old man in jipingtang, the rich man in three hundred stone prints. His ancestral home is Dangshan, Suzhou, Anhui Province. He was born in Xiangtan, Changsha, Hunan Province (now Xiangtan, Hunan Province). He is a master of modern Chinese painting and a world cultural name People.
早年曾為木工，后以賣畫為生，五十七歲后定居北京。擅畫花鳥、蟲魚、山水、人物，筆墨雄渾滋潤，色彩濃艷明快，造型簡練生動，意境淳厚樸實。所作魚蝦蟲蟹，天趣橫生。
In his early years, he worked as a carpenter, and later he made a living selling paintings. At the age of 57, he settled in Beijing. He is good at painting flowers and birds, insects and fish, landscapes and figures, with vigorous and moist ink, rich and bright colors, simple and vivid modeling, and simple and simple artistic conception. The fish, shrimp, insects and crabs are very interesting.
齊白石在北京定居后，內心卻是“故里山花此時開也”的思想軌跡。齊白石不可能將家鄉草木趕過黃河帶到北京，但家鄉草木卻作為一種自然信息隨齊白石來到北京，并化作藝術信息傳達出來，以實現齊白石心理的平衡。齊白石刻了許多寄托著懷鄉之情的閑文印，如“吾家衡岳山下”、“客中月光亦照家山”，是齊白石自抒胸臆的第一主題。齊白石寫了許多的懷鄉詩，如：“登高時近
思鄉，飲酒簪花更斷腸，寄語南飛天上雁，心隨君侶到星塘。”又如“飽譜塵世味，夜夜夢星塘”、“此時正是梅開際，老屋檐前花有無”，這些詩句是齊白石“夜不安眠”、“枕上愁余”時所些的肺腑之語。變法和著變意，變意和著變法，鄉心伴著童心，童心也總念鄉心。
After Qi Baishi settled in Beijing, his heart was the thought track of "the flowers in his hometown are blooming at this time". Qi Baishi can't drive his native plants and trees across the Yellow River to Beijing, but as a kind of natural information, his native plants and trees come to Beijing with Qi Baishi and convey it as artistic information to achieve the psychological balance of Qi Baishi. Qi Baishi engraved many idle seals with homesickness, such as "under the mountain of my family's Hengyue", "Moonlight in the guests also shines on the mountain of my family", which is the first theme of Qi Baishi's self-expression. Qi Baishi wrote many homesickness poems, such as: "when I ascended the heights, I was homesick nearly times. When I drank Zanhua, I was heartbroken. I sent a message to the wild geese flying in the south, and my heart went to Xingtang with my husband." They are also the words of Qi Baishi's heart when he "sleeps at night" and "sleeps on the pillow". Change and change, change and change, rural heart with childlike heart, childlike heart also always read rural heart.
強化色彩表現力，把黑作為一種色彩和其他色彩的對照，海派藝術家已經有所突破。齊白石海派的基礎上大膽地引進了民間藝術的審美特色，使色調更加純化。齊白石保留了以墨為主的中國畫特色，并以此樹立形象的骨干，而對花朵、果實、鳥蟲往往施以明亮的飽和的色彩，是將文人的寫意花鳥畫和民間泥玩具的彩繪構成了一個新的藝術綜合體。
To strengthen the color expression and take black as a contrast of color and other colors, Shanghai artists have made a breakthrough. On the basis of Qi Baishi school, he boldly introduced the aesthetic characteristics of folk art, making the tone more pure. Qi Baishi retains the characteristics of Chinese painting with ink as the main part, and thus establishes the backbone of the image, while flowers, fruits, birds and insects are often given bright and saturated colors, which is a new artistic complex composed of freehand flower and bird paintings of literati and color paintings of Folk Clay toys.
濃厚的鄉土氣息，純樸的農民意識和天真浪漫的童心，富有余味的詩意，是齊白石藝術的內在生命，而那熱烈明快的色彩，墨與色的強烈對比，渾樸稚拙的造型和筆法，工與寫的極端合成，平正見奇的構成，作為齊白石獨特的藝術語言和視覺形狀，相對而言則是齊白石藝術的外在生命。現實的情感要求與之相適應的形式，而這形式又強化了情感的表現，兩者相互需求、相互生發、相互依存，共同構成了齊白石的藝術生命，即齊白石藝術的總體風格。
The strong local flavor, simple peasant consciousness, naive romantic childlike innocence and poetic aftertaste are the inner life of Qi Baishi's art, while the warm and bright color, the strong contrast between ink and color, the simple and naive modeling and writing, the extreme combination of work and writing, and the plain and strange composition, as Qi Baishi's unique artistic language and visual shape, are relatively Qi Baishi's unique artistic language and visual shape The external life of white stone art. The realistic emotion demands the form which adapts to it, and this form strengthens the expression of emotion. They need each other, produce each other and depend on each other, which together constitute Qi Baishi's art life, that is, the overall style of Qi Baishi's art.
【藏品名稱】：吳湖帆山水畫
[collection name]: Wuhufan landscape painting
【類別】：雜項
Class: miscellaneous
【規格】：長：132cm 寬：65cm
[Specification]: length: 132cm, width: 65cm
吳湖帆，江蘇蘇州人，為吳大澄嗣孫(1894年農歷七月初二—1968年8月11日)。初名翼燕，字遹駿，后更名萬，字東莊，又名倩，別署丑簃，號倩庵，書畫署名湖帆。三四十年代與吳待秋、吳子深、馮超然并稱為“三吳一馮”。
Wu Hufan, born in Suzhou, Jiangsu Province, is the heir of Wu Dacheng (from the second day of July 1894 to August 11, 1968). At first, it was named Yiyan, and then it was renamed Wan, and then it was named Dongzhuang, also known as Qian. It was not named ugly Zhen, and it was named Qian'an. The calligraphy and painting were signed as Hufan. In the 1930s and 1940s, Wu daiqiu, Wu Zishen and Feng Chaoran were called "three Wu and one Feng".
建國后任上海中國畫院籌備委員、畫師，上海大學美術學院副教授，中國美術家協會上海分會副主席、上海市文史館館員、上海市文物保管委員會委員。收藏宏富，善鑒別、填詞。山水從“四王”、董其昌上溯宋元各家，沖破南北宗壁障，以雅腴靈秀、縝麗清逸的復合畫風獨樹一幟，尤以熔水墨烘染與青綠設色于一爐并多煙云者最具代表性。并工寫竹、蘭、荷花。二十世紀中國畫壇一位重要的畫家，他在中國繪畫史上的意義其實已遠超出他作為一名山水畫家的意義。
After the founding of the people's Republic of China, he served as the Preparatory Committee and painter of Shanghai Chinese Academy of painting, the associate professor of the Academy of fine arts of Shanghai University, the vice chairman of Shanghai Branch of China Artists Association, the librarian of Shanghai culture and History Museum, and the member of Shanghai cultural relics preservation Committee. Rich collection, good at identification and word filling. Mountains and rivers from the "four kings" and Dong Qichang go back to the song and Yuan Dynasties, breaking through the barriers of the north and the south. They are unique in the elegant, graceful, meticulous and elegant composite painting style, especially in the fusion of water and ink drying and green setting in a furnace with many smoke clouds. They also wrote bamboo, orchid and lotus. As an important painter in the 20th century, his significance in the history of Chinese painting is far beyond his significance as a landscape painter.
吳湖帆以其雅腴靈秀、清韻縝麗的畫風自開面目，稱譽畫壇。上世紀三四十年代，吳湖帆更以其出神入化、游刃有余的筆下功夫，成為海上畫壇的一代宗主。他的“梅景書屋”則為江浙一帶影響最大的藝術沙龍，幾乎當時著名的書畫、詞曲、博古、棋弈的時賢雅士都曾出入其中。他的青綠山水畫，設色堪稱一絕，不但清而厚，而且色彩極為豐富，其線條飄逸灑脫，正所謂含剛健于婀娜之中。因而吳湖帆開拓了前人未有之境，成為中國繪畫史曠古驚世的絕唱。
Wuhufan is famous for its elegant, elegant and elegant style of painting. In the 1930s and 1940s, Wu Hufan became the master of the sea painting world with his superb and easy work. His "Meijing bookstore" is the most influential art salon in Jiangsu and Zhejiang, in which almost all the famous scholars of calligraphy and painting, CI and Qu, Bo Gu and chess played. His blue and green landscape painting, with unique colors, is not only clear and thick, but also extremely rich in colors. Its lines are elegant and free, which is just so-called vigorous and graceful. Therefore, Wu Hufan has opened up an unprecedented situation and become a masterpiece in the history of Chinese painting.
吳湖帆工山水，亦擅松、竹、芙蕖。初從清初“四王”入手，繼對明末董其昌下過一番工夫，后深受宋代董源，巨然、郭熙等大家影響，畫風不變，然骨法用筆，漸趨凝重。其畫風秀麗豐腴，清雋雅逸，設色深具煙云飄渺，泉石洗蕩之致。吳湖帆山水畫最有特色，當他揮毫時，先用一枝大筆，灑水紙上，稍干之后，再用普通筆蘸著淡墨，略加渲染，一經裝裱，觀之似云嵐出岫延綿，妙絕不可方物。有時畫鳥、畫牛，更以稀見為貴。有一幅《五牛圖》長卷，牛或仰或俯，或回顧或正立，非常得勢。線條又復剛柔相濟，確是精構而成。
Wuhu sail industry landscape, but also good at Pine, bamboo, lotus. At the beginning of the Qing Dynasty, the "four kings" began to work hard for Dong Qichang at the end of the Ming Dynasty. Later, they were deeply influenced by Dong Yuan, Ju ran, Guo Xi and others in the Song Dynasty. The style of painting remained unchanged, but the technique of bone painting became more and more concentrated. Its painting style is beautiful and plump, pure and elegant, and its color is deep with the misty cloud and the spring stone. Wu Hufan's landscape painting has the most characteristics. When he wields it, he first uses a large amount of water spray paper, dries it a little, and then uses a common pen dipped in light ink to make a slight rendering. Once mounted, it looks like clouds and hazes stretching out of the mountains. It's wonderful. Sometimes the painting of birds and cattle is more precious. There is a long scroll of the painting of five oxen, in which the oxen either look up or down, or look back or stand upright, which is very powerful. The lines are hard and soft again, and they are precisely constructed.
吳湖帆受家學熏陶，酷愛藝術。13歲學畫，初從“四王”、董其昌入手，繼而上探五代、兩宋以及元明諸家。他一面悉心觀摩家藏歷代名跡，一面遍游名山大川，把師古人和師造化結合起來，從而在藝術上形成縝麗豐腴、清雋明潤的獨特風格。他的書法，融米芾與宋徽宗趙佶的“瘦金體”于一爐，并結合自己的意趣，自成一格，具有個性特色，從而成為滬上最享盛名的一位書畫家、鑒賞家。與趙叔孺、吳待秋、馮超然被譽為“海上四大家”。又與吳子深、吳待秋、馮超然合稱“三吳一馮”。在20世紀30年代，中國畫壇有“南吳（湖帆）北張”（大千）之譽。大千平生佩服的“兩個半畫家”中，第一個就是吳湖帆。
Wu Hufan is influenced by his family and loves art. At the age of 13, he began to learn painting from "four kings" and Dong Qichang, and then explored Five Dynasties, two Song Dynasties and Yuan and Ming Dynasties. On the one hand, he carefully observed the famous works of his family, and on the other hand, he traveled all over the famous mountains and rivers, combining the ancient teachers with the nature of teachers, so as to form a unique style of meticulous, plump, clear, meaningful and bright in art. His calligraphy, combining Mi Fu's and Zhao Ji's "thin gold style" of song Huizong with his own interest, has its own characteristics, and thus becomes the most famous calligrapher and connoisseur in Shanghai. Together with Zhao Shuru, Wu daiqiu and Feng Chaoran, they are known as the "four masters on the sea". It is also called "three Wu and one Feng" together with Wu Zishen, Wu daiqiu and Feng Chaoran. In the 1930s, Chinese painting was known as "Southern Wu (Hufan) and Northern Zhang" (Daqian). Among the "two and a half painters" that Daqian admired all his life, the first one was Wu Hufan.
【藏品名稱】：民國三年袁大頭
[collection name]: Yuan Datou in the third year of the Republic of China
【類別】：錢幣
Class: Coins
【規格】：直徑38.9mm 重26.7g
[Specification]: diameter 38.9mm, weight 26.7g
袁大頭是民國時期主要流通貨幣之一，“袁大頭”是對袁世凱像系列硬幣的口語俗稱，嚴謹點說叫“袁世凱像背嘉禾銀幣”。"袁大頭"在貨幣收藏界被稱為銀元之寶，是中國近千種近代銀幣中流傳最廣、影響最大的銀元品種，也是近代中國幣制變革中的一個重要角色。
Yuan Datou was one of the main circulating currencies in the Republic of China. Yuan Datou is a colloquial term for Yuan Shikai's series of coins, which is strictly called "Yuan Shikai carries Jiahe silver coins on his back". "Yuan Datou" is known as the treasure of silver dollar in the field of currency collection. It is the most popular and influential silver dollar variety among nearly one thousand modern silver coins in China, and it is also an important role in the currency system reform of modern China.
在中華民國成立之初，幣制十分混亂，流通市場上銀幣、銅幣、紙幣和鈔票一起流通使用。民國三年（1914年），北洋軍閥政府正式鑄造袁世凱頭像銀幣，因幣上鑄有袁世凱側身頭像，故民間俗稱“袁大頭”。
At the beginning of the Republic of China, the currency system was very chaotic. Silver, copper, paper and banknotes were used together in the circulation market. In the third year of the Republic of China (1914), the Northern Warlord government officially minted the silver coin with the head of Yuan Shikai. Because the head of Yuan Shikai was on the side of the coin, it was commonly known as "yuan Dazou".
“袁大頭”錢幣共有四種面值：壹圓、中圓(五角)、貳角、壹角，其中壹圓“袁大頭”最為常見。“袁大頭”首次的鑄造時間是民國三年，而且該幣被定為中華民國國幣，因此，它在我國的錢幣史上具有非常重要的地位。民國三年版正面為袁世凱側面像，上列“中華民國三年”。“年”字后沒有“造”字，其他年版都在“年”字后面有一“造”字。三年版“民”字中有一“點”，而其他年版民字無“點”。九年版中主要有袁像未封領版和大耳版兩種；前者為普通版，鑄量較多，后者鑄量較少。大耳版指袁像耳朵比其他版要大，而衣領全封領。錢幣的版面設計優雅，而且存世量極為稀少，是收藏界精品，知名度極大的一種，具有無法估量的學術與歷史價值。
There are four denominations of yuan Datou coins: one yuan, middle yuan (five jiao), two jiao and one jiao, of which one yuan is the most common. Yuan Datou was first minted in the three years of the Republic of China, and the coin was designated as the currency of the Republic of China. Therefore, it has a very important position in the history of China's currency. The front of the three-year edition of the Republic of China is the profile of Yuan Shikai, listed above as "three years of the Republic of China". There is no word "Zao" after the word "Nian". In other versions, there is a word "Zao" after the word "Nian". There is a "dot" in the three-year version of "Min", while there is no "dot" in other versions. In the nine-year edition, there are mainly two types: Yuan Xiang's unsealed collar edition and big ear edition. The former is a common edition, with more casting volume, while the latter is less. Big ear plate means that Yuan Xiang's ears are bigger than other plates, and his collar is fully sealed. The layout of coins is elegant and rare. It is a kind of excellent collection and has great popularity. It has immeasurable academic and historical value.
錢幣雕刻精美，邊齒整齊，輪廓細膩。錢幣正面為袁世凱側面像，上列“中華民國三年”六字。幣中袁世凱目光有神，炯炯注視前上方。背面圖案為兩株稻穗組成的嘉禾紋，中央豎寫“壹圓”二字。此枚錢幣鍛造精細，鑄幣之上當政者有國泰民安、吉祥如意之愿景。此幣經過歲月的沉積，錢幣包漿依舊完好，紋路清晰，邊齒過關。中華民國三年袁大頭有著歷史的熏陶，具有深遠的歷史紀念意義。
The obverse of the coin is the profile of Yuan Shikai, with six characters of "three years of the Republic of China" listed above. In the coin, Yuan Shikai's eyes are bright, and his eyes are bright on the front and the top. The pattern on the back is Jiahe pattern composed of two rice ears, with the word "one circle" in the center. This coin is finely forged, on which the ruler has the vision of national security and good luck. After years of deposition, the coins are still in good condition with clear lines and teeth. In the three years of the Republic of China, yuan Datou was influenced by history and had a profound historical significance.
“袁大頭”在貨幣收藏界被稱為銀元之寶，它是中國近千種近代銀幣中流傳最廣、影響最大的銀元品種，也是近代中國幣制變革中的一個重要角色。而民國三年“袁大頭”銀元鑄造量極少，存世量極罕。鑄幣之上當政者有國泰民安、吉祥如意之愿景，無論從美學或是歷史層面來看都極具收藏價值。
"Yuan Datou" is known as the treasure of silver dollar in the field of currency collection. It is the most popular and influential silver dollar variety among nearly one thousand modern silver coins in China, and it is also an important role in the currency system reform of modern China. However, in the three years of the Republic of China, the amount of silver ingots cast by "yuan Datou" was very small, and the amount of silver coins survived was very rare. Those in power above the coinage have a vision of national security and good luck, which is of great collection value in terms of aesthetics and history.
豐富藝術生活，傳遞藝術價值！如果您對此感興趣，歡迎聯系庭杰網絡服務有限公司！
Enrich art life and transfer art value! If you are interested in this , please contact Tingjie Network Service Co., Ltd!
分享是一種美德，分享是一種快樂，學會分享，快樂他人！
Sharing is a virtue, sharing is a joy, learn to share, happy others!
