藏品推薦：李幽泉六平尺山水畫
中國(guó)山水畫是中國(guó)人情思中最為厚重的沉淀。游山玩水的大陸文化意識(shí)，以山為德、水為性的內(nèi)在修為意識(shí)，咫尺天涯的視錯(cuò)覺(jué)意識(shí)，一直成為山水畫演繹的中軸主線。
Chinese landscape painting is the heaviest deposit in Chinese human thoughts. The mainland cultural consciousness of wandering mountains and rivers is based on the inner cultivation of mountains as morality and water as consciousness. The visual illusion consciousness of the horizon has always become the main line of the middle axis of landscape painting interpretation.
從山水畫中，我們可以集中體味中國(guó)畫的意境、格調(diào)、氣韻和色調(diào)。再?zèng)]有那一個(gè)畫科能像山水畫那樣給國(guó)人以更多的情感。
From landscape painting, we can concentrate on the mood, style, charm and color of Chinese painting. No other department of painting can give more emotion to the people like landscape painting.
若說(shuō)與他人談經(jīng)辯道，山水畫便是民族的底蘊(yùn)、古典的底氣、我的圖像、人的性情。
If it is said that talking with others argues, landscape painting is the heritage of the nation, classical heritage, my image, and human temperament.
李幽泉作者的這幅《溪山疊翠山水畫》強(qiáng)調(diào)"平遠(yuǎn)"、"高遠(yuǎn)"、和"深遠(yuǎn)"，運(yùn)用散點(diǎn)透視法，平遠(yuǎn)如同"漫步在山泉道上"，邊走邊看，焦點(diǎn)不斷變化，可以畫出非常長(zhǎng)的長(zhǎng)卷，括進(jìn)江山萬(wàn)里;
The author of Liyouquan's "Xishan Diechui Mountain Painting" emphasizes "Pingyuan", "Gaoyuan", and "far-reaching". Using the scattered perspective method, Pingyuan is like "walking on the mountain spring road". As we walk, the focus is constantly changing. You can draw very long long volumes, including Jiangshanwanli;
高遠(yuǎn)如同乘降落傘從山頂緩慢下降，焦點(diǎn)也在變化，從山頂畫到山腳，可以畫出立軸長(zhǎng)卷;深遠(yuǎn)則運(yùn)用遠(yuǎn)近山的形態(tài)濃淡對(duì)比，畫出立體，山谷深邃的效果。
Gao Yuan slowly descends from the top of the mountain by parachute, and the focus is also changing. From the top of the mountain to the foot of the mountain, you can draw a long roll of the vertical axis; Far-reaching is the use of the shape of the near and far mountains to draw a three-dimensional, deep valley effect.
中國(guó)山水畫較之西方風(fēng)景畫，起碼早了1000余年。它所呈相的圖義，實(shí)際上是一部中國(guó)思想史。早在7000多年以前，先古的覺(jué)醒便以圖案方式紀(jì)錄下來(lái)。新石器的河姆渡文化，已用線刻表達(dá)著觀念性文化的內(nèi)涵，定居的農(nóng)耕文明起源，不僅讓人認(rèn)知了工具美，亦讓人于器之上認(rèn)知了形上美。
Chinese landscape painting is at least 1,000 years earlier than Western landscape painting. The graphic meaning of its phase is actually a history of Chinese thought. As early as 7,000 years ago, the first ancient awakening was recorded in a pattern. The Neolithic Hemudu culture has been used to express the connotation of conceptual culture. The origin of the settled farming civilization not only made people recognize the beauty of tools, but also made people recognize the physical beauty on the device.
藝術(shù)不但是一種征服自然的想象，還是一種征服自然想象的象征。先古與自然一開始便用藝術(shù)的方式對(duì)活，邏輯的發(fā)現(xiàn)與藝術(shù)的鑒賞推演著人們的雙眼，讓一個(gè)天人合一的中國(guó)圖式由混沌而至清晰。
Art is not only an imagination of conquering nature, but also a symbol of conquering natural imagination. From the beginning, the ancient and nature used art to live. The discovery of logic and the appreciation of art deduced people's eyes, making the Chinese schema of the unity of man and nature from chaos to clarity.
早期山水畫的形成是源于人們對(duì)于自己賴以生存的自然之熱愛(ài)，在一次不經(jīng)意間用樹枝或石塊在巖石和土地上描繪出簡(jiǎn)單的自然景觀，在耕作閑暇之時(shí)自?shī)首詷?lè)，從中體會(huì)自然美景帶來(lái)的視覺(jué)享受。
The early landscape paintings were formed because people loved the nature on which they depended. They accidentally used branches or stones to paint simple natural landscapes on rocks and land, and they entertained themselves during farming leisure. Experience the visual enjoyment of natural beauty.
咨詢熱線：周經(jīng)理 17129180068【微信同號(hào)】
Consultation Hotline: Zhoujingli 1712918068[WeChat same number]
