艺缘拍卖精品推荐：精品百骏图

《百骏图》是意大利籍清代宫廷画家郎世宁作品，是中国十大传世名画之一，此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其它生物间的和谐关系。在表现手法上，郎世宁充分展现了欧洲明暗画法的特色，马匹的立体感十分强，用笔细腻，注重于动物皮毛质感的表现。该图稿本为纸质，纵102厘米、横813厘米，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）。

       郎世宁，清代著名画家，1688-1766年，意大利米兰人。他原名朱塞佩·伽斯底里奥内。年轻时在欧洲学习绘画，曾为教堂绘制圣像。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，既讲究西方绘画中的立体效果，注意透视和明暗，重视写实和结构准确的合理性。由于他能画并精通建筑学，曾参与增修圆明园建筑工事。擅画肖像、走兽、花果、翎毛尤善画马。所作大多以西画法入绢纸，略参中法，以写实为工，专注形似。他将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐。去世后葬于北京阜城门外。存世作品有《聚瑞图》、《嵩献英芝图》、《百骏图》、《弘历及后妃像》、《平定西域战图》等。

郎世宁使用的是中国软笔，却按西画的透视和光感等技巧，把花卉的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，立体感极强。虽然用的不是油画用的油彩，却栩栩如生，逼真到让人忍不住触手去摸。

      中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。同时他又将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，而另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。

      郎世宁几乎将当时欧洲主要的艺术品种和技法都介绍到了中国，给中国画家带来了全新的视觉和审美感受。可以说清代宫廷绘画的典型风格，就是在郎世宁所传来的欧洲绘画风格的影响所形成的。

此《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或交斗觅食的马儿，它们聚散不一，自由、舒闲。画作中的马儿还有人物、山水、草木，无不精致写实，比例结构的精准和对光的运用所表现出的立体感，显示出画家深厚的西学功底；而勾线、皴染又都是传统的中国手法。这幅形象逼真、构图繁杂、色彩浓丽的长卷给人印象最深的地方，是画家给予人们足够的空间，它不是一览无余，而是令人产生无边的遐想。此百骏图附有清代各时期皇帝的印章，证明曾被各时期皇帝收藏御览过其藏品。从而更加提升了此百骏图的收藏及投资价值。

"Bai Jun Tu" is an Italian Qing Dynasty court painter Lang Shining's work. It is one of the top ten handed down paintings in China. This picture depicts a total of 100 horses with different postures, either standing, running, or squatting, or lying down. It can be described as the state of a horse. There are several shepherds at the beginning and the end of the picture, which controls the entire herd and embodies a harmonious relationship between humans and other creatures in nature. In terms of performance techniques, Lang Shining fully demonstrated the characteristics of the European light and dark painting method. The three-dimensional sense of the horses is very strong, and the use of pens is delicate, focusing on the performance of animal fur texture. The draft of the map is paper, 102 centimeters in length and 813 centimeters in width. The original works are collected in the Metropolitan Museum of New York(paper manuscript) and the Palace Museum of Taipei, China(Sakamoto).

Lang Shining, a famous painter in the Qing Dynasty, 1688-1766, Milan, Italy. He was formerly known as Zhusaipei·qiesidiliao. When he was young, he studied painting in Europe and painted icons for the church. In the fifty-fourth year of Qing Emperor Kangxi(1715), he came to China as a monk of the Catholic Jesuit Society. After arriving in Beijing, he entered the Ruyi Museum in the first year of Yongzheng(1723) and became a court painter. He well integrated Chinese and Western painting techniques, not only pay attention to the three-dimensional effects of Western painting, pay attention to perspective and light and darkness, and attach importance to the rationality of realism and accurate structure. Because he can paint and master architecture, he has participated in the construction of Yuanmingyuan. Good at painting portraits, beasts, flowers, fruits, and horses. Most of the paintings made in the West are made into paper, and they are slightly involved in the Chinese method. He taught European paintings and methods to Chinese court painters and made positive contributions to the exchange of Chinese and Western culture and art. He was quite favored by the royal family. After his death, he was buried outside Beijing Fucheng Gate. The surviving works include "Ju Rui Tu", "Yan Xian Ying Zhi Tu", "Bai Jun Tu", "Hong Li and Hou Yi Xiang", "Pingding Western War Map" and so on.

Lang Shining used a Chinese soft pen, but according to the perspective and light sense of Western painting and other techniques, the shape and manner of the flowers were expressed, reflecting superb sketching and creative ability. The painting was quite fine and three-dimensional. Strong. Although it is not the oil paint used for oil painting, it is lifelike and lifelike.

Chinese paintings are scattered perspective, Western paintings are the focus of perspective. This perspective is fully reflected in this booklet. These techniques have a great influence on the development of later Chinese paintings. Pay attention to the anatomical structure, light and shadow effects and three-dimensional sense of the image. At the same time, he cleverly integrated the Chinese painting method with Cephas, breaking through most of the landscapes, flowers and birds paintings in the Ming and Qing dynasties with ink as the mainstream expression method, and created another way to create a "Chinese and Western combination". The new style of painting has pioneering significance. The development of Chinese traditional painting has produced a huge impetus and impact.

Lang Shining introduced the main European art varieties and techniques to China at that time, bringing a new visual and aesthetic feeling to Chinese painters. It can be said that the typical style of court painting in the Qing Dynasty was formed by the influence of the European painting style transmitted by Lang Shining.

This "Baijun map" is a long scroll of ocean and ocean, creating a large group of horses that are either standing or lying, or tumbling, or fighting for food. They are scattered, free and relaxed. The horses in the paintings also have characters, landscapes, and vegetation. They are all exquisite and realistic. The accuracy of the proportion structure and the three-dimensional sense of the use of light show the painter's profound Western learning. However, the hook lines and textures are all traditional Chinese techniques. The most impressive feature of this image, complex composition, and colorful long volume is that the painter gives people enough space. It is not an unobstructed view, but it produces endless reverie. This Baijun map is accompanied by the seal of the emperors of various periods of the Qing Dynasty, which proves that they have been collected by the emperors in various periods. This has further enhanced the collection and investment value of this Baijun map.