深圳雍乾盛世展览展出十件“珍宝”

柴窑绿釉镂空赏瓶

柴窑是五代十国皇帝周世宗柴荣的御窑，据记载创建于五代后周显德初年河南郑州。但是至今尚未发现遗址，柴窑是中国古瓷中的代表瓷器。

名称：柴窑绿釉镂空赏瓶

规格：口径：8.5cm 高：24cm 底径：7.7cm

类别：瓷器 　　 年代：五代十国

对于柴窑，只能在文献的片断中一窥真容。据载，柴荣描绘它:“雨过天晴云破处，者般颜色做将来。”明清文献更为清晰地描述柴窑“青如天、明如镜、薄如纸、声如磬”， 在颜色不光只青色，还有黑、黄、白、酱釉、芝麻酱色多种。但是中国瓷界及海外一直很少见柴窑踪影。柴窑是后周皇帝柴荣所创烧，所以称柴窑，它是唯一以人姓氏命名的官窑瓷。

柴窑瓷器为诸窑之冠，曾由资料记载描述：柴窑最贵，世不一见。柴窑烧制成本高、烧成率低，所以现存于世的柴窑数量非常稀少。此件柴窑绿釉镂空赏瓶胎釉质地非常轻薄，用手敲之瓷器会发出清亮悦耳的响声。赏瓶利用镂空对瓷器进行装饰美化，由于镂空瓷器的制作难度大，技术要求高，成品率低，镂空部位需精心设计，因此这件柴窑更显得珍贵，极具收藏价值。

粉彩刻瓷描金赏瓶

粉彩又被称为“软彩”，是釉上彩瓷器的一个品种，景德镇窑四大传统名瓷之一，汉族传统制瓷工艺中的珍品，是以粉彩为主要装饰手法的瓷器品种。粉彩瓷器是清康熙晚期在五彩瓷基础上，受珐琅彩瓷制作工艺的影响而创造的一种釉上彩新品种，从康熙晚期创烧，后历朝流行不衰。而赏瓶的形式最早出现于雍正朝，专为赏赐之用，器型来源于“玉壶春瓶”。宫廷的赏赐品有很多，如花翎、黄马褂、黄带、紫辔等较为常见，而最能体现御赐份量的乃赏瓶。赏瓶是皇帝御批烧制的赏赐器物，代表了至高无上之荣光，可谓赏赐品中价值及恩德之最。

名称：粉彩刻瓷描金赏瓶

规格：口径：12.4cm 高：46.5cm 底径：13.5cm

类别：瓷器 　　 年代：清代

一般赏瓶多以青花配缠枝莲纹为主体，因“青莲”与“清廉”谐音，故赏赐给臣下则希望能为政清廉，而此赏瓶描绘的是福禄寿喜人物故事图案，寓意吉祥如意，福如东海，寿比南山。而这个时期刚好创新了以粉彩刻瓷描金的品种。且这赏瓶外形俊秀、线条柔美、比例协调，精美的纹饰乾隆皇帝非常的喜爱，而一直未将此瓶赏赐于他人，足见其喜爱程度。此赏瓶乃乾隆朝赏瓶中不可多见之代表性珍品佳作。

刻瓷描金赏瓶是在上釉烧成的素色瓷器上，用钨钢刀或金刚石刀镂刻，众所周知，瓷器硬度高，釉面光滑，既硬又脆，需用坚硬的工具进行雕刻，关键部位一刀失误将前功尽弃。一件体量不大的精美刻瓷作品，在制作过程中，往往需要数天或数十天的刀雕凿刻才能完成。刻瓷与其它陶瓷装饰技法相比，要求制作者不仅要有深厚的绘画基础，更要掌握娴熟的镌刻技法。古往今来，学画者众，事刻瓷者寡，历存的刻瓷作品数量也因此特别稀少，弥足珍贵。此赏瓶即是艺术收藏佳作，又是馈赠亲朋的珍品。且刻瓷作品观之有形，触之有感，既有“金石之韵”又有“笔墨情趣”，风格迥异，自成一科，极具魅力，且此赏瓶除了运用刻瓷手法之外，还通体描金，是瓷器的精品，价值难以言喻。

此件粉彩刻瓷描金赏瓶就是典型的宫廷粉彩刻瓷描金瓷器，此赏瓶描绘福禄寿喜人物故事图案，藏品上绘画人物在民间流传为天上三吉星福禄寿，福——寓意五福临门，禄——寓意高官厚禄，寿——寓意长命百岁。中国民间喜欢将三星作为礼仪交往和日常生活中象征幸福、吉利、长寿的祝愿。正寓意“福禄寿”吉祥之意。且人物形象，场面比较喜庆化。构图合理，将纹饰表现得栩栩如生，描金恰到好处，纹饰仿佛就是一幅画卷，整幅画面颜色鲜艳，刻瓷描金以粉彩人物故事为主，瓷胎轻薄，胎质细腻，釉面光润。底部书：大清乾隆年制六字帝王款，字体清晰，笔道有力。此类器形、刻瓷描金技法，纹饰，且如此精美的瓷器于乾隆时期实属少见，具有极高的收藏研究价值，十分珍贵。此款“粉彩刻瓷描金赏瓶”代表着吉祥、喜庆。在中国，传统文化中，该藏品创作过程十分谨慎，不容一丝错误。“粉彩刻瓷描金赏瓶”的收藏品，都是极为稀罕的，如今皆列在博物馆、文物馆、祠堂供奉中、知名富豪收藏家手里等等。在收藏品市场上流通的，仅仅是凤毛麟角。

御用传世珍品粉彩人物海碗

清.雍正粉彩人物海碗，画工细致，烧制极精，品相完好，难得精品，收藏佳选。

【名称】：《桔红釉粉彩人物海碗》

【类别】：瓷器

【规格】：口径：26.8cm ；高：11.4cm； 底径：13cm

桔红釉是一种呈色多变的高温颜色釉，是清雍正时的铜红。是釉中最名贵品种之一。釉色浅红，釉面多绿苔点。这种绿色苔点本是烧成技术上的缺陷，但在浑然一体的淡红中，掺杂点点绿斑，反而显得幽雅清淡，柔和悦目，给人美感，引人遐思。由于铜在各部分的密度不同，烧成后呈色各异：有的在匀净的粉红色中泛着深红斑点，或者红点密集成片，有的则在浅红色中映而疏露着绿斑或色晕。因此有“绿如春水初生日，红似朝霞欲上时”之美誉。

该器物还在桔红釉的基础上，用粉彩描了一个老人带着一个小孩上山采药，老人拿着拐杖在前面带路，小孩背着装满药材的竹篓跟在后面，人物表情自然形象，结构细密。胎体轻重适度，达到了所谓“只恐风吹去，还愁日炙销”的地步。这么大件器皿，胎体也是上下匀称一致，不显厚重，修胎规整。

器物底足极为光滑滚圆，俗称“泥鳅背”。釉面光洁，釉质莹润，匀净，有六字纂书“大清康熙年制”。此粉彩人物海碗釉土饱满札实；而纹饰采用精细白描手法，线条纤细清新，潇洒而流畅；局部深色勾描，色彩鲜艳凝腻，玻璃质感强烈，近似珐琅彩的效果，描绘出一派生动的景象，呈现出雍正粉彩中最具特色的风格，十分少见。可谓一笔一画，毫不马虎，一丝一毫，都恰到好处，着实是清雍正之宫中御用传世珍品，极具收藏价值。

歷史考古表明，直到漢代才出現專為焚香而制作的香器，此後歷代出現各種式樣的香爐、香熏、熏球、香盒等……形制繁多的各式香器也成為香文化的重要組成部分，記載了源遠流長的中國香文化。

History of archeology shows that it was not until the Han Dynasty that the incense made for incense was produced. Since then, various types of incense, incense smoke, smoked balls, incense boxes, etc. have emerged. The various types of incense aromas have also become an important part of the incense culture. The Chinese incense culture, which has a long history, has been recorded.

名称：绿釉镂空转心香薰

规格：重：945g 高：18cm 口径：14.5cm

类别：瓷器 年代：大清乾隆年制

此件绿釉镂空转心香薰应为乾隆初年制品，犹存雍正朝遗风。器形大气秀美，底刻“大清乾隆年制”六字三行篆书款。胎体较薄，色调纯美雅致，釉水垂流自然、蓝相间的绿釉，器身上下部斑片较大，鳞次栉比，超凡脱俗。这些特征雍正一朝始终保持，乾隆初年有短暂持续，被视为清代绿釉最成功的制品。是一件极具收藏和投资价值的藏品，望广大的收藏家和投资家品鉴！

Name: Green Glaze Hollow ConvulsionSpecification: Weight: 945G Height: 18cm Calibre: 14.5 cmCategory: China Age: Qing Dynasty Qianlong Year SystemThis piece of green glaze hollowed out to turn the heart aromatherapy should be the first year of Qianlong products, still remaining in the wind is leaving. The instrumental atmosphere is beautiful, and the bottom is engraved with the "Qing Dynasty Qianlong Year System" six-character three-line script. The fetal body is thin, the tone is pure and elegant, and the glaze water flows naturally, the green glaze of blue and blue, and the lower part of the body is larger, row by row, and it is extraordinary. These characteristics have always been maintained in the Yongzheng period. The early years of Qianlong lasted for a short period of time and were regarded as the most successful products of green glaze in the Qing Dynasty. It is a collection with great collection and investment value. We hope that the vast number of collectors and investors will appreciate it!

元青花瓷开辟了由素瓷向彩瓷过渡的新时代，其富丽雄浑、画风豪放，绘画层次繁多，与中华民族传统的审美情趣大相径庭，实在是中国陶瓷史上的一朵奇葩，同时也使景德镇一跃成为中世纪世界制瓷业的中心。精品元青花在拍卖会上从来都是藏家的最爱，今天小编盘点一下史上最知名的元旦八个青花罐。

Yuan Qinghua porcelain has opened up a new era of transition from Prime porcelain to colored porcelain. Its rich and magnificent style, bold style, and wide range of paintings are very different from the traditional aesthetic interests of the Chinese nation. It is really a strange flower in the history of Chinese ceramics. At the same time, Jingdezhen has become the center of the porcelain industry in the Middle Ages. The fine Yuan Qinghua was always the favorite of the Tibetans at the auction. Today, he compiled an inventory of the eight most famous New Year's Day green pots in history.

名称：鬼谷子下山图青花大罐

规格：重：9430g 高：28cm 口径：20.5cm 底径：20.5cm

类别：瓷器 年代：元代

此件鬼谷子下山图青花大罐素底宽圈足，直口短颈，唇口稍厚，溜肩圆腹，肩以下渐广，至腹部下渐收，至底微撇，共分四层，一层颈部饰水波纹，二层肩部饰缠枝牡丹、三层腹部为〝鬼谷子下山〞主题纹饰，四层下部为变型莲瓣纹内绘琛宝，俗称『八大码』。此器型大方大器，釉色老练沉稳，罐内又有凤凰绘饰，工艺十分到位， 其款为〝古相博陵第〞款，相当特别，收藏价值极高。

Name: Ghost Valley downhill map Qinghua big potSpecification: Weight: 9430g Height: 28cm Calibre: 20.5 cm Bottom diameter: 20.5 cmCategory: porcelain age: Yuan DynastyThis ghost Valley down the hill map of the green flowers can be a wide circle foot, straight short neck, lips slightly thick, shoulders and bellies, shoulders gradually widened below, gradually to the abdomen, to the bottom of the bottom, a total of four layers, a layer of neck decorated with water ripples, The second floor shoulders are decorated with twigs and Peony, and the third floor abdomen is the theme decoration of the ghost Valley. The lower part of the fourth floor is a variant of the lotus leaf pattern, which is commonly known as the "eight big codes." This type of generous device, enamel sophisticated and steady, the pot and Phoenix painting decoration, the process is in place, its model is the first phase of the ancient phase of the Boling, quite special, extremely high collection value.

描述的是鬼谷子在齐国使节的请求下，下山搭救课齐国名将孙膑与独孤陈的故事。鬼谷子青花大罐是元代青花瓷，现下存世的元青花瓷是非常之少，绘有历史人物的更是少之又少，此罐的珍贵之处也在于它描述的是古代的一神秘人物——鬼谷子，鬼谷子在历史上颇具神秘色彩，他学识渊博、在政治、军事、外交、天文地理等多种才能上都有一定的成就，战国时期杰出的军事家孙膑、庞涓都是他的门下高徒。

What is described is the story of Ghost Valley at the request of Qi's envoy, and the story of Qi Qi's famous Sun Yi and Tokgo Chen. The ghost Valley green flower pot is the blue and white porcelain of the Yuan Dynasty. There are very few Yuan Qinghua porcelain that exists in the world, and there are very few historical figures. The precious thing about this pot is that it describes ancient times. A mysterious figure-Ghost Valley, Ghost Valley is quite mysterious in history. He has profound knowledge and has achieved certain achievements in various talents such as politics, military affairs, diplomacy, and astronomy and geography. The outstanding military strategists Sun Yi and Pang Yu in the Warring States period are all his masters.

一行人与山色树石构成了一幅壮观而又优美的山水人物画卷。整个青花纹饰呈色浓艳，画面饱满，疏密有致，主次分明，浑然一体。人物刻画流畅自然，神韵十足，山石皴染酣畅淋漓，笔笔精到，十分完美，正如孙瀛洲先生所说的：“元代瓷器‘精者颇精’”。

A group of people and mountain trees and stones constitute a spectacular and beautiful landscape painting. The entire green flower decoration is rich and colorful, the picture is full, dense and dense, the main time is distinct, and it is integrated. The characters are smooth and natural, full of charm, and the mountains and stones are dyed and dripping. The pen is exquisite and very perfect. As Mr. Sunyingzhou said: "The porcelain of the Yuan Dynasty was quite refined."

德化窑位于福建省中部的戴云山麓，盛产优质的瓷土。德化白瓷胎釉中的氧化铁含量特别低，而氧化钾含量高，烧造时采用中性气氛，所以德化白瓷胎质致密，釉色洁白，光润明亮，乳白如凝脂，且光滑如玉，给人以玲珑剔透之感。

Dehua Kiln is located in the foothills of Daiyun in the central part of Fujian Province and is rich in high-quality porcelain clay. The content of iron oxide in Dehua white porcelain fetal glaze is particularly low, and the content of potassium oxide is high. The neutral atmosphere is used when firing. Therefore, Dehua white porcelain fetal is dense, white glaze is white, bright and shiny, and milky white is condensed, and smooth. Like jade, Give people a sense of exquisite.

名称：德化窑卧观音像

规格：长：41.7cm 高：21.3cm

类别：瓷器 年代：明代（何朝宗款）

此件观音发梳高髻，顶有化佛。面庞长圆，神态慈祥。身披广袖长衣，袒胸饰莲花璎珞，腕戴玉镯，。里外施白釉，此观音造型、神态自然庄重，超凡脱俗。线条洗练流畅，衣带飘拂洒脱，洁白的釉色，更增添了观音像的神圣感。背上部钤“何朝宗”篆书葫芦形印章款。

Name: Dehua Kiln Reclining Audio-visualSpecification: Length: 41.7 cm Height: 21.3 cmCategory: porcelain age: Ming Dynasty(He Chaozong)This piece of Guanyin hair comb high, top Buddha. The face is long and round, and the manner is kind. Dressed in a wide-sleeved gown, topless Lotus cornet, wrist jade bracelet,. Inside and outside of the white glaze, this Guanyin shape, look natural and solemn, extraordinary and refined. The lines are smooth and smooth, the ribbon is free and easy, and the white glaze color adds to the sacred sense of Guanyin. The back part of the seal "Hezhaozong" seal gourd-shaped seal.

明代烧造的白釉观音、达摩等塑像，胎釉浑然一体，晶莹如玉，被誉称为“中国白”、“象牙白”。清代除烧白瓷外，还烧制青花与彩绘瓷器。德化窑产品精美，人物形象生动，神态逼真，特色鲜明。德化窑瓷器是故宫博物院文物藏品中一项重要的收藏，不仅有清宫旧藏的德化精品，还有一部分收购入藏的。

The statues of the White Glaze Guanyin and Dharma, which were burned in the Ming Dynasty, were perfectly integrated and crystal like jade. They were known as "Chinese White" and "Ivory White." In addition to burning white porcelain in the Qing Dynasty, blue flowers and painted porcelain were also burned. Dehua kiln products are exquisite, the characters are vivid, realistic and distinctive. Dehua kiln porcelain is an important collection in the cultural relics collection of the Palace Museum. It not only has Dehua fine products from the old possession of the Qing Palace, but also some of them have been acquired into Tibet.

德化窑瓷土中氧化硅含量较高，胎体细密，透光度好，釉色纯净。以白色为基调，摒弃彩饰，更强化了作品不同凡响的超尘境界，使其在明代众多佛教题材作品中，独具风韵。福建德化在明代晚期出现了以何朝宗为首的一批瓷塑艺术工匠。他的作品质感突出，注重神情刻画，具有超凡绝俗的气质。

Dehua kiln porcelain soil content of Silicon oxide is high, the fetal body is fine, good light permeability, glaze color is pure. With white as the tone, abandoning the color ornaments, it also strengthens the extraordinary transcendental realm of the works, making it unique in many Buddhist works in the Ming Dynasty. Fujian Dehua appeared in the late Ming Dynasty with a group of porcelain plastic artisans headed by Hezhaozong. His works have a prominent texture, pay attention to expression, and have an extraordinary temperament.

李春造， 1936年生于河北省巨鹿县，号巨鹿山人。现任中国书画联谊会理事、中山书画研究社会员、中华名人画院花鸟画家、中原书画研究院高 级画师、北京美术家协会会员、中国翰墨轩书画院副院长。 1957年进入中央美术学院学习，受中国国画大师齐白石亲自指点，师从娄师白、黄胄 、李苦禅先生，并得真传，专攻花鸟，承、创新，学习、改良”，数十年如一日，奉行于每一笔的水墨之间。到今天，谓之“炉火纯青”，应不为过。尤擅画虾。央视报道称其为“中国虾王”

观赏李先生的群虾图，无论是《瀚海游龙》，《龙腾四海》，还是《个个成龙》，无不寄托着李老对民族精神的讴歌和赞美，如龙虾之特性：矫健机敏，团结向上；虾阵如同龙族齐心协力，气势凌人！不只是形态的逼真，更强调神态的活跃与灵动。而“春造画虾”更是出神入化，极力追求绘画艺术至纯、至高、至雅的精神境界。

名称：李春造 （九宫八卦图）（龙腾四海图）

规格：68X68cm 100X50cm

类别：字画 年代：近代

李先生说，他所画的虾，都是改良和美化了的虾，融海虾个体肥硕、色彩鲜艳和河虾线条优美、体态轻盈之特点于一身，写实与写意手法兼用。你仔细观察李先生所画的虾，不难看出：丰满匀称，质感透明，结构紧凑，一丝不苟，没有虚笔，层次分明，纷杂而不凌乱。更让人叹服的是：须臾不缺，点睛不落！也只有这样的功夫，于方寸白宣之上，才能做到笔墨形似而传神。也许就是这细微的虾须和层次的搭配，已然突出了李先生画虾的独到和功底，堪称李先生在画虾上的传神之笔，值得广大藏友收藏。

印章的收藏一直朝着两个不同的方向伸展。一是藏印，即鉴赏印章篆刻的金石美、边款诗文的沧桑美、闲情趣语的印文美。另一种玩法是藏石，即鉴赏印章石料的灵透和印纽的雕琢天成，尤以田黄石、鸡血石为贵，温嫩脂润，色可夺魂，“溪中冻”、“凝脂霞”即其美誉。

The seal collection has been stretching in two different directions. The first is the Tibetan seal, that is, the appreciation of the seal seal seal of the stone beauty, the poetry of the vicissitudes of beauty, the ease of interest of the United States of India. Another kind of gameplay is the Tibetan stone, that is, appreciating the sealant of the seal stone and the carving of the Indian New Year, especially Tian Huangshi and the chicken blood stone are expensive, and they are tender and greasy, and the color can capture the soul, "frozen in the stream" and "congealed". "Xia Xia" is its reputation.

名称：老坑田黄十二生肖印章

规格：总重：4950g

类别：杂项 年代：清代

本组老坑田黄十二生肖印章色泽自然柔顺、呈淡"橘皮黄"色，肌理蕴极细致之萝卜纹，绵密欲化，红筋显著易辩;其质地特别的凝腻、温润、细结，凝灵成冻有一种难以形容的油润感，显为中阪所产上佳田石，色质俱佳。且此套印材硕大无比，从古至今田黄历来都以两计价，通常一两以上者方算成材，三两者可谓大材，而过半斤者则属巨材也。因田黄原石多为自然形卵状独石，可想而知如此硕大、品相完美的正方印材，要耗用多大的田黄原石方可成形。如此奢华与气魄舍皇家其谁?印主的身份地位不言而喻。

Name: Old Hang Tianhuang Zodiac SealSpecification: Total weight: 4950gCategory: Miscellaneous Years: Qing DynastyThis group of old pit Tianhuang's zodiac seal is naturally soft in color, with a light "orange peel yellow" color, extremely detailed radish texture, dense desire, and obvious and easy to distinguish red tendons; Its special texture is greasy, warm, and thin, and it has an indescribable sense of oil and water. It is obviously produced by Nakasaka and has excellent color. And this set of printing materials is extremely large. From ancient times to the present, Tian Huang has always used two prices. Usually one or more people are considered to be material, and the two are large materials, while those who are more than half a pound are also giant materials. Because Tianhuangyuanshi is mostly a naturally shaped oval-shaped monolith, it can be imagined that such a large and perfect square printing material can be formed by using how much of the Tianhuangyuan stone can be formed. Who is so luxurious and enviable to the royal family? The status of the Indian owner is self-evident.

田黄石因具有皇族专用的黄色，被满清皇族宠爱并视为珍宝，争相寻觅，价与金玉相埒，视同瑰宝，倍受文人雅士、官宦、皇族及帝王的喜爱，自清以来极负盛名。相传乾隆皇帝曾以田黄石祭天，并冠予帝帽，故田黄历来有「石中之王」的尊号。

Because of his exclusive yellow color, Tianhuangshi was favored by the Manchu royal family and regarded as a treasure. He was eager to find it. The price was similar to that of Jin Yu. He was regarded as a treasure and was loved by literati, bureaucrats, royalty, and emperors. Since the Qing Dynasty, he has been very famous. According to legend, Emperor Qianlong used Tian Huangshi to worship the sky and crowned the emperor's hat. Therefore, Tian Huang has always had the title of the king of the stone.

田黄石作为石中之王，材质温润凝腻，在软质雕刻石中居第一品，是古代帝王印章的材料，自明清以来就被印人视为 “印石之王”。明清各朝均被当作贡品献入皇宫，被雕刻成御用的玺印及艺术摆件。史载，清时福建巡抚用一整块上等田黄雕刻了“三连章”，乾隆皇帝奉为至宝，清室代代相传;咸丰帝临终时，赐予慈禧一方田黄御玺;末代皇朝解体，溥仪不要所有珍宝，只将那枚“三连章”缝在棉衣里。至于民间相传，田黄石是女祸补天时遗留在人间的宝石，又说是凤凰鸟蛋所变，还传田黄石可驱灾避邪，藏田者能益寿延年等等也使田黄的尊贵地位得到凸显，甚至让田黄蒙上了一层神秘色彩。故田黄一直是收藏家梦寐以求的至宝。有“黄金易得，田黄难求”，“一两田黄三两金”之说。

Tianhuangshi, as the king of the stone, has a warm and greasy material. He is the first product in the soft carving stone and is the material of the ancient emperor's seal. Since the Ming and Qing dynasties, he has been regarded as the "king of printing stones" by the Indians. Both the Ming and Qing dynasties were presented as tribute to the imperial palace and were carved into imperial seals and artistic decorations. History contains that during the Qing Dynasty, the governor of Fujian Province carved the "three chapters" with a single piece of Tian Huang. The Emperor Qianlong was regarded as a treasure, and the Qing room was passed down from generation to generation; At the end of Emperor Xianfeng's death, he was given Huangyuxi, one of Cixi's sons; The dissolution of the last dynasty, Puyi do not want all the treasures, only the "three chapters" sewn in the cotton clothes. As for the folk legend, Tianhuangshi is a jewel left behind by the woman when she made up for the sky. It is also said that the Phoenix bird eggs have changed, and Chuantianhuangshi can drive away disasters and avoid evil spirits. The Tibetan people can live for a long time and so on. The noble status of Tian Huang has also been highlighted. Even made Tian Huang a layer of mystery. Therefore, Tian Huang has always been a collector's favorite treasure. There is "Gold Easy, Tianhuangnanqiu", "One or two Huangsan

李春造,1936年生于河北省巨鹿县，自号“巨鹿山人”。现为中国书画联谊会理事、中山书画研究社会员、中华名人画院花鸟画家、中原书画研究院高级画师、北京市美术家协会会员、中国翰墨轩书画院副院长。1957年进入中央美术学院学习，受著名国画大师娄师白、董寿平、王雪涛、黄胄、李苦禅先生亲传指点，专攻花鸟，尤擅画虾。享有“当代虾王”之美誉。

名称：李春造（百虾图长卷）

规格：长：996cm 宽：69cm

类别：字画年代：近代

龙，一直以来就是中华民族精神的象征：凌厉威严、刚正向上，大气凛然，豪气冲天，不屈不挠。而实则在自然界，并没有“龙”这个物种。在形态与神态上，唯有虾可与之比拟一二。李春造就是这样一个以虾寓龙、抒发对华夏龙族精神顶礼膜拜之情，充满民族情结的画家，以他传神的水墨丹青，再现中华民族当代之图腾！单虾个个腾跃如生龙游海，虾阵层次丰富，须尾清晰，不重不叠；簇拥的百虾图，甚至你能数得清个数。虾只龙睛晶亮，争先恐后，形成团簇畅游之势，寓意龙族紧密团结；然而又密而不乱，齐心协力；虬爪凌厉，龙身浑圆，龙头抖擞，扶摇舞动，翻转直上，继而巧妙构成一条跃海神游的巨龙，构思巧妙，传神逼真，气势恢弘。此幅百虾图不管是从画功，还是笔墨上来看，都属于画虾画中的精品，值得广大藏友收藏。

新加坡大型春拍精品推荐：青铜三足爵杯

中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，主要指4000多年前用铜锡合制的青铜器物，简称"铜器"。包括有炊器、食器、酒器、水器、乐器、车马饰、铜镜、带钩、兵器、工具和度量衡器等。出现并流行于4000年前直到秦汉时代。

Chinese bronzes are exquisitely made, enjoying high reputation and artistic value in the world bronzes, mainly referring to bronzes made of copper and tin more than 4,000 years ago, or " bronzes" for short. Including cookers, food utensils, wine utensils, water utensils, musical instruments, horses and chariots, bronze mirrors, hooks, weapons, tools, weights and measures, etc. Appeared and became popular 4,000 years ago until the Qin and Han dynasties.

青铜器的颜色真正做出来的时候是很漂亮的，是黄金般的土黄色，因为埋在土里生锈才一点一点变成绿色的。由于青铜器完全是由手工制造所以没有任何两件是一模一样的，每一件都是独一无二、举世无双的。

The color of bronze ware is very beautiful when it is really made, and it is golden khaki, because it is only when it is buried in the soil and rusted that it becomes green bit by bit. Because bronze ware is made entirely by hand, no two pieces are identical, and each one is unique and unparalleled.

中国古代铜器，是我们的祖先对人类物质文明的巨大贡献。虽然从考古资料来看，中国铜器的出现，晚于世界上其他一些地方，但是就铜器的使用规模、铸造工艺、造型艺术及品种而言，世界上没有一个地方的铜器可以与中国古代铜器相比拟。这也是中国古代铜器在世界艺术史上占有独特地位并引起普遍重视的原因之一。

Ancient Chinese bronze wares are great contributions made by our ancestors to human material civilization. Although the appearance of Chinese bronze wares is later than other parts of the world in terms of archaeological data, there is no place in the world where bronze wares can be compared with ancient Chinese bronze wares in terms of their use scale, casting technology, modeling art and varieties. This is also one of the reasons why ancient Chinese bronze wares occupied a unique position in the world artistic history and attracted general attention.

艺术品名称：青铜三足爵杯

艺术品类别：杂项 　　 年代：战汉

艺术品规格： 重：160.9克

Art name: bronze tripodsArt category: miscellaneous age: Han dynastyArt specifications: weight: 160.9g.

战国的青铜器，一方面继续发展了纹饰细密的风格，另一方面又出现了很多素面的器物，表明当时青铜器的制造有趋向实用的倾向。这种风气与贵族的衰落、郡县制的发展密切相关。至汉代时，作为礼器的青铜器已经衰退，而代之兴起的，是日常实用青铜器的工艺设计变得更为精致，例如设计精巧的熏炉和青铜爵杯，装饰细密的带钩、造型生动的席镇等。这种转变，既反映了时代政治变迁，也说明青铜器制造技术在不断进步，以适应世俗社会。

O n the one hand, the bronze wares of the warring States period continued to develop a fine-grained style, and on the other hand, there were many plain-faced implements, which showed that the bronze wares of that time tended to be practical. This kind of ethos is closely related to the decline of nobles and the development of county system. By the Han dynasty, the bronzes used as ritual vessels had declined, but instead, the technological design of daily practical bronzes became more exquisite, such as exquisitely designed fumigators and bronze cups, finely decorated seats with hooks and vivid shapes, etc. This change not only reflects the political changes of the times, but also shows that the bronze ware manufacturing technology is constantly improving to adapt to the secular society.

先秦青铜器的文化不仅局限于铜器的制造和使用，也包括金银器。从文化传播的方面看，中原青铜文化中有许多远方异域的因素，在相当大的时空范围内承载了中华历史。中国青铜器是高度结合了艺术性和实用性的创造，既有重要的历史文化价值，也是古代科技和艺术的灿烂结晶。

The culture of bronze wares in pre - Qin dynasty is not only limited to the manufacture and use of bronze wares, but also includes gold and silver wares. From the perspective of cultural communication, there are many exotic factors in the bronze culture of central plains, which bear the Chinese history in a large space-time range. Chinese bronze ware is the creation that highly combines artistry and practicality. it has important historical and cultural values and is also the brilliant crystallization of ancient science and technology and art.

目前，一些有预见的投资者已开始悄悄把收藏重点向青铜兵器和青铜杂器转移，这些“潜力股”在近十年的身价均涨过10倍。其中小件青铜器藏品在市场上表现极为活跃，价格一度飙升，体现出很高的投资价值。近几年市场上比较活跃的小件青铜器，主要以铜镜和爵杯为主。

At present, some foreseen investors have begun to shift their collection focus to bronze weapons and miscellaneous bronzes quietly, and these " potential stocks" have increased 10 times in value in recent ten years. Among them, the collection of small bronzes is very active in the market, and the price once soared, which shows high investment value. In recent years, the most active small bronzes in the market are bronze mirrors and cups.