佳婦人例.仇英画.明代

2023年-01月-01日 ➠ 824 ➠ ♥ 0

分类 China国内名家 34篇中百篇内相关文章

《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。
仇英，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。
The Illustrations of Good Women was signed as “The Real Father Hates the Imperial System”, and 60 people were drawn together. The composition, content, and number of people are the same as those in the Illustrations of Splendid Beauty in the Long Autumn Period. Therefore, some experts said that the Illustrations of Good Women belong to the parent or line sketch of the Illustrations of Splendid Beauty in the Long Autumn Period.
Qiu Ying, whose name is Ying and whose name is Shi Fu, was born in Taicang (now Taicang, Jiangsu Province) and moved to Wu County (now Suzhou, Jiangsu Province). He was born about the 11th year of Hongzhi in the Ming Dynasty (1498) (note: some people also think it was 1509), and died in the 30th year of Jiajing of Shizong in the Ming Dynasty (1552). The surviving paintings include the Painting of Red Cliff, the Painting of the Source of Jade Cave Immortals, the Painting of Peach Village Thatched Cottage, the Painting of Sword Pavilion, and the Painting of Songxi, etc. One of the representative painters of the Ming Dynasty. Together with Shen Zhou, Wen Zhengming and Tang Yin, they were called the “Four Masters of the Ming Dynasty” and the “Four Masters of the Heavenly Gate” by later generations. In his early years, he worked as a painter and painted pillars of the country. Later, he learned painting from Zhou officials. Qiu Yishan’s paintings were valued by Wen Zhengming and Tang Yin. He also saw a large number of ancient masterpieces in the famous collectors Xiang Yuanbian and Saturday watchers. He is good at figure painting, especially at copying ladies. Absorbing the skills of horses and people in the Southern Song Dynasty and the Yuan Dynasty, the pen is vigorous, and the paper is painted in pink and yellow, and the strokes are realistic. As for the emerald gold, the combination of danzhou and wusu, the exquisite beauty and elegance, are worthy of the ancients. Be good at using different strokes to express different objects, either round and smooth, or stuttering and vigorous, and be good at both color setting and line drawing. The figures have accurate modeling, strong generalization, beautiful image and smooth lines, which have a great impact on Youqiu, Yuzhiding and Qinggong ladies paintings. The landscape is mostly like Zhao Boju and Liu Songnian, and the common works are delicate and vigorous green ones. Sometimes, he makes boundary painting pavilions, which are particularly detailed. They often make pictures of the forest. People, birds and animals, mountains, temples, flags and chariots, and military looks all recall the ancient sages and famous pens. Zhang Chou commented in the Qinghe Painting and Calligraphy Boat that Qiu Ying’s paintings are “a master of rocks, Wang Wei, a master of trees, Li Cheng, a master of figures, Wu Yuanyu, and a master of colors, Zhao Boju. They are all excellent, and they are all excellent”. Dong Qichang wrote in his “The Painting of Immortal Chess” that “Qiu Shifu is the successor of Zhao Boju, and both Wen and Shen have not done their best”.