金牌投资收藏《溥心畬（镜心六屏）》即将在英国伦敦举槌开拍！

金牌投资收藏《溥心畬（镜心六屏）》即将在英国伦敦举槌开拍！

【藏.荐】栏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。

[Tibet. Recommendation] column for the strong dissemination effect of the collection to recommend to buyers the selected art treasures by experts at the first level of national appraisal, to bridge the gap for Tibetans, so that the value of thousands of art treasures are excavated and valued, and high-priced transactions can be concluded in the auction.

 

溥心畲（yú）（1896年9月2日～1963）原名爱新觉罗·溥儒，初字仲衡，改字心畲，自号羲皇上人﹑西山逸士。北京人，满族，为清恭亲王奕訢之孙。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。

Puxinyu (Y ü) (September 2, 1896-1963), formerly known as aixinjuelu puru, was originally named Zhongheng and changed to Xinyu. It was named xihuangren and Xishan Yishi. Beijinger, Manchu, is the grandson of Yixin, Prince Gong of Qing Dynasty. He studied in Germany, and was fond of poetry, calligraphy and painting. He is good at painting landscapes, figures, flowers and calligraphy. He has the reputation of "nanzhangbeipu" with Zhang Daqian and "nanwubeipu" with Wu Hufan.

 

溥心畲得传统正脉，受马远、夏圭的影响较深，他在传统山水画法度严谨的基础上灵活变通，创造出新，开创自家风范，溥心畲的清朝皇室后裔的特殊身份使他悟到荣华富贵之后的平淡才是人生至境，因而他在画中营造的空灵超逸的境界令人叹服，《光宣以来诗坛旁记》云，“近三十年中，清室懿亲，以诗画词章有名于时者，莫如溥贝子儒……清末未尝知名，入民国后乃显。画宗马夏，直逼宋苑，题咏尤美。人品高洁，今之赵子固也，其诗以近体绝句为尤工”值得一提的是，溥心畬作品的鉴定相对其他大名家而言比较容易，从根本上来说，溥心畬出身皇族，在绘画方面的材料选择十分讲究。很多画家由于具备超凡的笔墨驾驭能力，因此择笔不择纸，如齐白石、黄宾虹、黄胄、陆俨少、石鲁。而还有一些画家对笔墨纸砚却是十分挑剔，如溥心畬、李可染、吴湖帆、于非闇、张大千等，姚梦古将“渡海三家”的溥心畬、张大千、黄君璧的绘画作比，称张大千为“妙品”、溥心畬为“逸品”、黄君璧为“能品”。纵观溥氏渡台前后，画风也产生了很大的变化，早年师法南宋的马远、夏圭以及明代的唐寅，用笔俊朗飘逸，以骨力盛，自1949年到台湾至1963年病逝，早年激励的笔线逐渐变得含蓄，很多山石的皴法已经将线条融掉，特别是设色类作品。

Pu Xinyu got the traditional positive vein, and was deeply influenced by Ma Yuan and Xia GUI. He was flexible and flexible on the basis of strict traditional landscape painting methods, creating a new style and creating his own style. Pu Xinyu's special identity of the Royal descendants of the Qing Dynasty made him realize that the plain life is the ultimate state of life after the glory and wealth, so the realm he created in the painting is amazing. Since Guangxuan, the poetry circle It is said in the book beside that, "in the past 30 years, the Qing Dynasty was famous for its poetry, painting, CI and chapter, just like Pu Beizi and ru... At the end of Qing Dynasty, it was not well-known, but obvious after entering the Republic of China. Ma Xia, the master of painting, was directly in charge of song yuan. It is worth mentioning that the identification of puxinshe's works is relatively easy compared with other famous scholars. Fundamentally speaking, puxinshe comes from the royal family and pays great attention to the selection of painting materials. Because many painters have the extraordinary ability to control the brush and ink, they choose the pen instead of the paper, such as Qi Baishi, Huang Binhong, Huang Zhou, Lu Yanshao and Shi Lu. Some painters are very critical of ink, paper and inkstone, such as PU Xinyu, Li Keran, Wu Hufan, Yu Feihan, Zhang Daqian, etc. Yao Menggu compared the paintings of Pu Xinyu, Zhang Daqian and Huang Junbi, who are "three families crossing the sea", and called Zhang Daqian "wonderful product", Pu Xinshe "elegant product", and Huang Junbi "capable product". Before and after Pu's crossing the stage, the painting style also changed a lot. In the early years, Ma Yuan and Xia GUI of the Southern Song Dynasty and Tang Yin of the Ming Dynasty were taught to use the pen to be handsome and elegant, and their strength was strong. They died of illness from 1949 to Taiwan to 1963. The pen lines inspired in the early years gradually became implicit. Many mountain and stone texturing methods have melted the lines, especially color works.

 

近日征集到溥心畬（镜心六屏）真迹，此绘画使用的绢绫都是上好的粗纹熟绢，质地坚实，据启功回忆，溥心畬早年练过武术，并常年进行书法创作，特别注意对腕力的训练，故而他的线条比一般画家更为劲健灵动，越是精致细腻之处越显功力，这是对造假者难度极大的考验，他所使用的颜色更是旧时宫中的矿物颜料，不仅颜色纯正且历久不变，不会因托裱而变灰或脱色。包括印泥也是选用上好的艾绒，古雅沉稳，因此，以材料而言，普通水平的作伪者在第一层面就很难接近溥心畬的原作。

Recently, puxinshe (six screens of Mirror Heart) was collected. The silk used in this painting is the best coarse-grained mature silk with solid texture. According to Qigong's memory, puxinshe practiced martial arts in his early years and created calligraphy all the year round. He paid special attention to the training of wrist strength. Therefore, his lines are more vigorous and flexible than other painters. The more delicate and delicate, the more effective, which is difficult for counterfeiters. It's a great test. The color he used is the mineral pigment in the old palace. It's not only pure and unchangeable, but also not gray or discolored due to mounting. Including printing mud is also a good choice of eiderdown, elegant and steady. Therefore, in terms of materials, it is difficult for ordinary level counterfeiters to approach puxinyu's original works at the first level.

 

溥儒（1896~1963）

设色纸本：鏡片

鈴印画款识：溥儒之印

溥心畬（镜心六屏）

尺寸：(长120cm 宽 30cm)x6

Puru (1896-1963)

Color paper: lens

The seal of Pu Confucianism

Pu Xinyu (six screens of Mirror Heart)

Size: (L 120cm w 30cm) x6

 

此镜心六屏意象多是:梅花、兰花、竹、菊花。被人称为"四君子"。品质分别是:傲、幽、坚、淡。梅、兰、竹、菊成为中国人感物喻志的象征，也是咏物诗和文人画中最常见的题材，正是根源于对这种审美人格境界的神往，也是咏物诗文和艺人字画中常见的题材，号称花中四君子。四君子并非浪得虚名，它们各有特色 :

The six screen images of this mirror are mostly: plum blossom, orchid, bamboo and chrysanthemum. It is called "four gentlemen". The qualities are: proud, quiet, firm and light. Plum, orchid, bamboo and chrysanthemum have become the symbols of Chinese people's feelings and images, and also the most common themes in poems and paintings of literati. It is precisely rooted in the yearning for this aesthetic personality realm, and it is also the common themes in poems and paintings of artists, known as the four gentlemen in flowers. They have their own characteristics.

 

梅:探波傲雪，剪雪裁冰，一身傲骨，是为高洁志士;

兰:空谷幽放，孤芳自赏，香雅怡情，是为世上贤达;

竹:筛风弄月，潇洒一生，清雅澹泊，是为谦谦君子;

菊:凌霜飘逸，特立独行，不趋炎势，是为世外隐士。

Mei: explore the wave of Ao Xue, cut the snow and cut the ice. He is a lofty and noble person.

LAN: the empty valley is secluded, enjoying itself alone, fragrant, elegant and affectionate. It is for the world's sages.

Bamboo: sift the wind to make the moon, cool and unrestrained life, elegant and plain, is for the humble gentleman;

Ju: Ling Shuang is elegant, independent, and does not tend to be inflamed. He is a hermit outside the world.

全画用笔精细周到.敷色淡雅.突出表现了宁静与秀美，表达了画家对淡泊生活的向往。

The whole painting is meticulous and thoughtful. The color is light and elegant. It highlights the tranquility and beauty, and expresses the painter's yearning for indifferent life.

 

反观溥心畲虽无师承，但因其特殊的身份和家学，加上可以随时观摩丰厚的藏画，使之在绘画上得传统正脉，他由临摹传统名画入手，自悟积累而成，所作山水远追宋人笔法，近取明四家之一的唐寅笔意，笔墨挺健劲秀，以“铁划银钩”一路表现斧劈皴，刚劲飘逸，又不失秀丽典雅，有一种贵族化的文人气质。在其山水画中，或高岩深壑, 巨木长松;或雪景寒林, 烟云迷漫。所画楼阁，有富贵之气，风格雍容华贵, 但又不失澹泊幽雅。在章法，溥氏作品构图工整谨严，样式也很丰富，全景式、边角之景均可见到，常采用夏远、夏圭之法, 以险取胜。在墨色上，溥心畬的绘画擅用花青、浅绛或小青绿，色调清雅妍丽，秀润逸气。

On the contrary, Pu Xinyu has no master, but because of his special identity and family learning, as well as being able to observe the rich Tibetan paintings at any time, he can get the traditional positive vein in painting. He started from copying the traditional famous paintings and accumulated his own understanding. His landscape is far behind that of the Song Dynasty people. He nearly took Tang Yin's brushwork, which is one of the four schools in the Ming Dynasty. His brushwork is very vigorous, vigorous and beautiful. He shows his axe and chaps with "iron strokes and silver hooks" all the way. It is also beautiful and elegant, with a noble literati temperament. In his landscape paintings, there are high rocks and deep gullies, huge trees and long pines, or snowy and cold forests with misty clouds. The painted pavilions are rich and dignified in style, but they are not without elegance. In the method of composition, Pu's works are neat and careful, and the styles are also rich. Panoramic and corner views can be seen. Xia yuan and Xia GUI are often used to win the battle with danger. In terms of ink color, Pu Xinyu's paintings are good at using cyan, light crimson or small cyan green, with elegant and beautiful colors and elegant and elegant atmosphere.

 

溥心畬的山水画常有大段的题诗， “或抄录古人的佳句，但画论很少，所题之字, 以行草为多”。溥心畬早期的作品用笔工细，结构严谨，但在四十多岁之后画风偏于写，用笔纵横，不求形似，笔意空灵，平淡天真，趣味盎然。溥心畬画法从传统中来，但并不为古人所桎梏。在其画论《寒玉堂画论》中，他对山水画法有过这样的阐释：“画山先轮廓而后皴皱，此常法也。至于崎岖荦确，突兀峥嵘，熊罴升降，龙跳虎卧之形，笔必变化奔腾，横飞直下，先于一笔之中，有起伏轻重，定为阴阳，辨其明晦。若但累圆石，列为雁行，此拙笔也。易曰：介于石。石坚物也， 故以为象;石有锋棱，用笔亦必有锋棱，然后乃见石之坚刚，则刚柔之笔互用。若但勒染，皴法不明， 是谓有墨无笔， 笔谓石之锋棱，墨谓深浅之色。有墨无笔， 如对石屏，但有山河之影;有笔无墨， 如石刻峰峦，不见晦明之妙。与其无笔，不如无墨。”启功曾评价溥心畬的山水：“ 先生画的山石树木, 从来没有像《芥子园画谱》里所讲的那么些样的皱法、点法和一些相传的各派成法,有时勾出轮廓, 随笔横着竖着任笔抹去, 又都恰到好处, 独具一格”。

Pu Xinyu's landscape paintings often have a large section of Poems Inscribed on them, "or copy the ancient verses, but there are few painting theories, and most of the words inscribed are grass". In his early works, puxinyu used fine brushwork and rigorous structure, but after his forties, the style of painting was inclined to writing, which was vertical and horizontal, without seeking for shape resemblance, with an empty, plain and innocent meaning and full of interest. Puxinyu's painting method comes from the tradition, but it is not shackled by the ancients. In his painting theory of hanyutang painting theory, he had such an interpretation of landscape painting: "painting mountains first with outline and then with wrinkle, which is a common method. As for the ruggedness, abruptness, the rise and fall of bear's bottom, the shape of dragon leaping and tiger lying, the pen will change and gallop, flying straight down, before a pen, there are ups and downs, which is defined as Yin and Yang, to distinguish its obscurity. If you are tired of round stones, they are listed as wild geese. Yi said: between stone. Stone is hard, so it's like; stone has a sharp edge, and the pen must have a sharp edge, and then when you see the stone is hard, the pen is rigid and soft. If the method of texturing is not clear, it means that there is ink without a pen, the pen is the edge of the stone, and the ink is the color of depth and light. If there is ink or no ink, it is like a stone screen, but there is a shadow of mountains and rivers; if there is a pen or no ink, it is like a stone peak, and there is no mystery. It is better to have no ink than no pen. " Qigong once commented on puxinyu's mountains and rivers: "the mountains, stones and trees that Mr. Qi painted have never been as wrinkled, dotted and handed down as mentioned in the painting Manual of mustard garden. Sometimes, the outline is drawn out and the essay is obliterated by any pen horizontally and vertically, which is just right and unique."

 

此件藏品为本次英国伦敦拍场核心推荐藏品，欢迎各位藏友莅临英国伦敦拍场咨询竞拍，机会难得！

This collection is the core recommended collection for this London auction. You are welcome to come to London auction for consultation and auction. This is a rare opportunity!