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郎世宁神骏图

断代/款识 清代
规格 高90cm 宽60cm
数量 240
委托售价 议价
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1715年(清康熙五十四年)来中国传教,随即入皇宫任宫廷画家,历经康熙、雍正、乾隆三朝,在中国从事绘画50多年,并参加了圆明园西洋楼的设计工作,为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽,风格上强调将西方绘画手法与传统中国笔墨相融合,受到皇帝的喜爱,也极大地影响了康熙之后的清代宫廷绘画和审美趣味。郎世宁骏马图郎世宁是将西方绘画艺术引进中国绘画的中第一人,也是使得中西艺术在马图中得以完整结合的第一人。郎世宁所提供的绘画{画马}的新范式无疑具有划时代的意义,特别是在中西艺术互动相融大行其道的今天,更是如此。后来的杰出的画马艺术家徐悲鸿便深受其影响。(图片来源网络,侵权请联系删除)郎世宁骏马图郎世宁是将西方绘画艺术引进中国绘画的中第一人,也是使得中西艺术在马图中得以完整结合的第一人。郎世宁所提供的绘画{画马}的新范式无疑具有划时代的意义,特别是在中西艺术互动相融大行其道的今天,更是如此。后来的杰出的画马艺术家徐悲鸿便深受其影响。此骏马图运用中国的毛笔、纸绢和色彩,却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感,使得笔下的马匹形象造型准确、比例恰当、凹凸立体,而不像中国古代画。家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线,按照素描的画法,来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱,或者利用色泽的深浅,来表现马匹的凹凸肌肉,与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料,以显示中西趣味兼容并蓄的画面。亦是以中国传统的渲染方法来完成的。画家借助了西方追求如实表现物象体积感和立体感的绘画技巧,将马的各种姿态刻画得活灵活现,是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态,由此判断该画应是郎氏在雍正年间所创作,因为到了乾隆时期,在郎世宁的绘画中往往自己仅画出人物、鞍马,背景则由中国画家补绘。 骏马是郎世宁作品中常见的绘制对象,重要的是他领会了马在中国传统文化中的象征意义。自古以来,马是社会贤良的象征,封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“骏马”入画并非偶然,渊源有自。据传古代周穆王记录,一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥(见《穆天子传》),另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼(见《拾遗记》),周穆王曾经驾驭骏马遨游西方。于是,图写骏马亦有为君主歌功颂德、彰显威仪的含义。 此画具有较高的收藏价值和文化价值。

In 1715 (the 54th year of the reign of Emperor Kangxi in the Qing Dynasty), he came to China to preach, and then joined the imperial palace as a Court painter. After three dynasties of Emperor Kangxi, Emperor Yongzheng, and Emperor Qianlong, he has been engaged in painting in China for more than 50 years, and participated in the design of the Western Pavilion in the Old Summer Palace, becoming one of the top ten court painters in the Qing Dynasty. Lang Shining is skilled in painting horses, portraits of people, flowers and beasts. His style emphasizes the integration of Western painting techniques with traditional Chinese brush and ink, which was loved by the emperor and greatly influenced the Qing court painting and aesthetic taste after Kangxi. Lang Shining, a horse figure, was the first person in China to introduce Western painting art into Chinese painting, and also the first person to fully integrate Chinese and Western art in horse figures. The new paradigm of painting {painting horses} provided by Lang Shining undoubtedly has epoch-making significance, especially in today's world where the interaction and integration of Chinese and Western art are prevalent. Later, Xu Beihong, an outstanding artist who painted horses, was deeply influenced by him. (Image source online, please contact to delete for infringement) Lang Shining is the first person in China to introduce Western painting art into Chinese painting, and also the first person to fully integrate Chinese and Western art in Ma Tu. The new paradigm of painting {painting horses} provided by Lang Shining undoubtedly has epoch-making significance, especially in today's world where the interaction and integration of Chinese and Western art are prevalent. Later, Xu Beihong, an outstanding artist who painted horses, was deeply influenced by him. This horse painting uses Chinese brush, paper silk, and colors, but focuses on depicting the anatomical structure, volume, and texture of the horse's fur using European painting methods, making the horse image in the painting accurate, proportionate, and three-dimensional, unlike ancient Chinese paintings. The method of using continuous and vigorous lines to outline the contours of objects at home. He uses fine and short lines to depict the appearance of horses, the wrinkles of their fur, and the protruding blood vessels and tendons under their fur, or uses the depth of color to depict the concave and convex muscles of horses, which is completely different from the traditional Chinese painting of horse images. Incorporating traditional Chinese painting techniques with Western light and shadow perspective and Western painting pigments to showcase a blend of Chinese and Western interests. It is also completed using traditional Chinese rendering methods. The painter utilized Western painting techniques that pursued the realistic representation of object volume and three-dimensional sense, vividly depicting various postures of horses, which is a unique artistic style of the "Haixi School" led by Lang Shining in Chinese art history. The trees, rocks, flowers and plants in the background in the picture are all expressed in light and shade changes, so it can be judged that the painting should be created by Lang Shi in the Yongzheng period, because in the Qianlong period, Lang Shi Ning often painted only figures and Pommeled Horse in his paintings, and the background was supplemented by Chinese painters. The steed is a common painting object in Lang Shining's works, and it is important for him to understand the symbolic significance of horses in traditional Chinese culture. Since ancient times, the horse has been a symbol of social virtue. The feudal emperors ordered Court painter to create with the horse as the subject matter, which implied that they respected the pillars of society and were eager for talents. It is not an accident that Lang's painting of "steeds" originated from its own source. It is said that in the records of ancient King Mu of Zhou of Zhou, one is Green Ear, Pirate Li, Bai Yi, Yue Lun, Shanzi, Qu Huang, Hua Liu and Chi Ji (see Biography of Mu Tianzi), and the other is Jedi, Fanyu, Ben Xiao and Chao Ying, Yue Hui, Chao Guang, Teng Wu, and Ju Yi (see Records of Handicrafts), King Mu of Zhou once drove a horse to travel in the west. Therefore, the depiction of the steed in the picture also has the meaning of singing praises to the monarch and showcasing his majesty. This painting has high collection value and cultural value.

 


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