重庆际华蓬莱仙境图推广

来源: ruanwen.yingbo98.cn

重庆际华拍卖有限公司

重庆际华拍卖有限公司，为藏品强大的传播效应向各位买家推荐经国家一级鉴定专家甄选的艺术珍品，为藏家牵线搭桥，让千百件艺术珍品价值被发掘与重视，在拍卖会上得以高价成交。

【名称】 蓬莱仙境图

【规格】 长：343.6cm 宽：24.2cm

【类别】   字画

袁江（1662—1735）字文涛，号岫泉。江都（今江苏扬州）人。是中国绘画史上有影响画家，宫廷画家，专攻山水楼阁界画。雍正时，召入宫廷为祗侯。山水楼阁最为有名，擅画山水、楼台、师法宋人。绘画素材多为古代宫苑，尤长于界画，其界画在清代被推为第一。此画中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。作品章法曲折有致，气势翻江倒海，令观者惊心动魄。画面上远近山峦，兀立隐现，在云烟幻灭之中宛如仙境，是难得一见佳品，具有极高艺术收藏价值。

袁江的画作大致上可以分为两类；一类是对景写生；一类是凭借想象描绘仙山楼阁。袁江的这组画显然属于后者。袁江所作《蓬莱仙境图》图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操，借此也寄予了作者向上的生活态度和对远离俗世生活的世外桃源无限向往之情。

在经营位置上，《蓬莱仙境图》吸取了唐宋人的全景式构图，讲求开合与近中远三景的表现。山石造形在笔墨上层次清晰。山石皴法将卷云、鬼面、雨点、钉头等多种皴法融为一体，运用自如。讲求体面关系，玲珑剔透。袁氏此作，注重虚实、色彩对比，不仅增加了画面的韵律感，也增强了视觉张力。

《蓬莱仙境图》不论是从设色、笔墨还是构图上看都属于袁氏艺术成熟时期的难得佳作，对于研究袁江的绘画风格和当时的历史人文具有极高的价值。

[Name] Penglai fairyland painting

[Specification] Length: 343.6cm Width: 24.2cm

[Category] Calligraphy and painting

NO.[JH129]

Yuan jiang is an influential painter in the history of Chinese painting, court painter, specializing in landscape architecture. Yongzheng, called into the court for only hou. Landscape pavilion is the most famous, good at painting landscape, tower, song. Most of the painting materials are ancient palace gardens, especially good at boundary painting, which was promoted as the first in the qing dynasty. In this painting, the mountain veins all have momentum, abrupt and weird; To ghost surface texturing method to paint out of the rocks strange shape, rich layers. The magnificent and orderly palace and the majestic and dynamic landscape are ingeniously integrated, forming a vivid contrast between dynamic and quiet, orderly and lively in the picture, with a broad momentum. The works are full of twists and turns, and full of momentum. In the picture, mountains and mountains stand out in the distance, just like a fairyland amid the cloud and smoke disillusionment.

Yuan jiang's paintings can be roughly divided into two categories; One is landscape painting; One is to draw on imagination xianshan pavilion. Yuan jiang's paintings clearly belong to the latter group. Most of the pavilions in the picture of penglai fairyland by yuan jiang were built on high mountains and hidden in jungles. Ancient trees, pines, plum and apricot were born between rocks or in crevice. They were flourishing and full of vitality. The bent branches and stems were influenced by the song dynasty. The method of dotting leaves was more relaxed and natural than that of the earlier period. The figure in the picture, three or five groups, demeanor poised, elegant temperament, or on the road, or tea, or boating on the lake, this point for the use of scenery, but from the point of the wonderful. Clothes, hair with pen force fine and smooth. "The snow is more green and the frost is more red." Pine cypress and plum blossom in ancient times have the meaning of noble and noble, symbolizing the lofty sentiment of literati and scholar-officials, which also placed the author's upward life attitude and infinite yearning for the land of paradise away from the secular life.

In the management position, "penglai fairyland map" absorbed the tang and song dynasties panoramic composition, pay attention to open and close with the performance of the three scenes. The mountain stone shapes are clearly layered in brush and ink. It makes perfect use of curling cloud, ghost face, rain drop, nail and other texturing techniques. Decent relationship, exquisite. Yuan's works pay attention to the contrast between false and true and colors, which not only increases the sense of rhythm of the picture, but also enhances the visual tension.

The picture of penglai fairyland is a rare masterpiece of yuan's artistic maturity, which is of great value to the study of yuan jiang's painting style and the history and culture at that time.