十九世纪前后，古董八屏木质彩绘雕刻漆器仙山人物仕女大屏风：尺寸：长度：326.8cm. 高度：213.2cm. 厚度：2.2cm. 古董来源：北美地区 收藏家 珍藏。这是一幅由八个木板屏幕组成的大尺幅的浮雕作品，木板屏幕的正面雕刻的是一幅描绘中国古代著名的天宫仙女欢乐和聚会的传说故事纹饰的题材，即著名的“天女散花”图案；木板屏幕的背面的雕刻则是一幅描绘中国古代传统文化艺术的著名传说故事，亦即锦鸡与牡丹花卉-荷塘鸳鸯纹饰与题材，又名为“玉堂富贵图”。注解：1. 木板屏幕组成的大尺幅的浮雕作品正面图案《天女散花》，是中国古代的一则典故，同时也是一个成语与传说。以该典故衍生出来的京剧、黄梅戏、壁画比较多。“天女散花”一词原本来源自佛教中《維摩詰經•观众生品》里的一则故事。讲述天女百花仙子散花来试菩萨声闻弟子的道行，花则于菩萨的身上落去，则到了弟子身上花便不落。寓意为天女散花的景象如同大雪漫天飞的样子。又示意为天女散花，把鲜花撒向大地，用鲜花来点缀在山林与草树之间。典故之一：佛经中阐述到如来佛在西天的莲花宝座上讲述经文的时候，忽然感知到得意弟子—維摩詰得了疑难杂症。于是他便派门下弟子前去探病，推断出维摩詰要趁此机会宣经释典，便让天女前去监督弟子们的受教情况。于是天女便手提花篮来到了凡间，低头一看，见到维摩詰果然在与弟子们传授经法，顷刻间天女将花篮里的鲜花洒向凡间，然而弟子舍利弗的身上便沾满了鲜花，众人看到此番景象都诧异万分。天女道：“结习未尽，固花着身；结习尽者，花不着身。”舍利弗得知了天女的教诲，便越发努力学习经文。典故之一：在维摩詰所居住的地方有一位天女，每当她听到有人说法讲经的时候她就会现身于讲经人的面前，把花篮里的曼陀罗花洒向众菩萨与众佛祖的大弟子的身上，那些花落在菩萨身上时花就会即将败落，但落在大弟子身上时却不会凋零，即使大弟子运用神功也无法将花拂去。2. 木板屏幕组成的大尺幅的浮雕作品背面图案《玉堂富贵图》的注解：《玉堂富贵图》该画雕刻的是一片假山石伏在花丛下面，显得十分沉着、稳定，假山中翘首站立着一只色彩斑斓而不俗艳的雉鸡，正仰头望着头上的一束野花。雉鸡羽毛质感鲜明，姿态恬淡悠闲。象征着富贵的几朵牡丹怒放在画面正中部，很引人注目。牡丹花朵硕大，其中一朵显得更加艳丽，另有几朵含苞待放，其雍荣之姿显然。牡丹上面是幽香的玉兰、鲜艳的杜鹃和妍丽的海棠，在繁茂的枝叶映衬下，花朵星罗棋布，使画面更加富于生机。同时这些小小的花朵与牡丹形成鲜明的对比，使牡丹显得愈发娇艳，华贵。枝叶间还点缀几只嬉戏的小鸟，栩栩如生。汉代皇宫有“玉堂院”，后世以“玉堂”指翰林院，“历金门，上玉堂有日矣”的意思是指为高升指日可待。“富贵”一词出自《论语-颜渊》：“商闻之矣，生死有命，富贵在天。”，指富裕而显贵的意思。民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵。此图中雕刻锦鸡，鸳鸯，牡丹、玉兰、海棠、杜鹃，荷花等花卉纹饰，布满全幅。作品赏析：民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。牡丹敷以淡粉，用重粉点染边缘，显得晶莹剔透、庄重典雅。整个画面热烈而秀雅，韵味十足。玉兰初吐芳华，海棠飞艳溢彩，秀石之后，几丛牡丹姹紫嫣红，一只野雉正倘徉其间。 该图构图方法颇具特色。从整幅图中来看，所有画面被牡丹、玉兰，海棠，禽鸟和假山石充溢，十分紧密，有明显的装饰性，使观者一望而生富丽之感。 此图以玉兰、海棠、牡丹三种花相配，取玉兰的“玉”，再取海棠的“棠”，谐音成为“玉堂”；至于牡丹花本是花中之王，被称为“富贵花“，因此组成了“玉堂富贵”的画题。 构图：从构图技法上，此图独特别致，意蕴无穷。 此图的花枝，花叶雕刻出轮廓，然后敷以淡彩，湖石上面华丽的锦鸡，玉兰树上的爱情鸟，湖石下面描绘的鸳鸯鸟一对，不留空隙，满纸点染。这种构图处理正是画家苦心构思、独辟蹊径而推陈出新。创作者把花枝花朵挤出曲线，使人感觉到充满生命力的花朵的扩张力。下端野禽的眼特别醒目有神，无疑形成以此眼点展开的扇面，扩大了有限的空间，使画面具有张力。可见作者的用心是在于促成繁花似锦、满堂生辉、一派生机的气象。 ------------------------------------------------------------------- Around the nineteenth century, antique eight-screen wooden color-painted carved lacquerware fairy mountain lady large screen: Size: Length: 326.8cm. Height: 213.2cm. Thickness: 2.2cm. Antique source: Collected by collectors in North America. This is a large relief work composed of eight wooden board screens. The front of the wooden board screen is carved with a theme depicting the legendary stories of the joys and gatherings of celestial nymphs in ancient China, that is, the famous "Tiannu San" "Flower" pattern; the carving on the back of the wooden screen is a famous legend depicting ancient Chinese traditional culture and art, that is, golden pheasant and peony flowers-lotus pond mandarin duck patterns and themes, also known as "Yutang Fugui". Notes: 1. The large-scale relief work composed of wooden boards and screens, with the frontal pattern "The Heavenly Girl Scattering Flowers", is an allusion in ancient China, as well as an idiom and legend. There are many Peking operas, Huangmei operas, and murals derived from this allusion. The term "Tiannu scattered flowers" originally originated from a story in the "Vimalakirti Sutra•Audience" in Buddhism. It is told that the goddess Hundred Flowers Fairy scattered flowers to test the Taoism of the Bodhisattva's disciples. The flowers fell on the Bodhisattva, but the flowers did not fall on the disciples. The scene which means that the goddess scatters flowers is like a heavy snow flying in the sky. She also indicated that she scattered flowers for the goddess, and scattered the flowers to the ground, using flowers to decorate the mountains and forests and grass trees.One of the allusions: When it is stated in the Buddhist scriptures that the Tathagata Buddha was narrating the scriptures on the lotus throne in the west, he suddenly felt that Vimalakirti's disciple, Vimalakirti, had an intractable disease. So he sent his disciples to visit the sick, inferring that Vimalakirti would take this opportunity to preach scriptures, and he asked the goddess to supervise the teaching situation of the disciples. So the goddess came to the mortal world with a flower basket, and looked down and saw that Vimalakīrti was teaching sutras to his disciples. In an instant, the goddess sprinkled the flowers in the flower basket on the mortal world, but the disciple Sariputra was covered with With flowers, everyone was surprised to see this scene. The goddess said: "If you have not finished your studies, you will stick to your body; if you have finished your studies, you will not be able to spend your body." Sariputra learned of the teachings of the goddess, and he worked harder to study the scriptures. One of the allusions: There is a goddess in the place where Vimalakirti lives. Whenever she hears someone preaching, she will show up in front of the preacher and spray the mandala flower in the flower basket to the bodhisattvas. On the bodies of the major disciples of the Buddhas, those flowers will soon fall when they fall on the bodhisattvas, but they will not wither when they fall on the major disciples. Even the major disciples cannot brush the flowers away even if they use magical powers.2. Annotation to the pattern "Yutang Wealth and Fortune" on the back of the large relief work composed of wooden planks and screens: The painting of "The Jade Hall of Wealth and Honor" is a piece of rockery sculpted under the flowers, which looks very calm and stable. In the rockery stands a colorful but not vulgar pheasant, looking up at the top of the head. Bunch of wild flowers. The feathers of the pheasant have a clear texture and a quiet and leisurely posture. Several peonies, which symbolize wealth, are in full bloom in the middle of the picture, which is very eye-catching. The peony flowers are huge, one of them is even more gorgeous, and the others are in buds, showing its graceful appearance. Above the peonies are delicate magnolias, bright azaleas and beautiful begonias. Against the backdrop of the luxuriant branches and leaves, the flowers are scattered all over, making the picture more vibrant. At the same time, these small flowers form a sharp contrast with the peonies, making the peonies more delicate and luxurious. Several playful birds are also dotted among the branches and leaves, which are lifelike.The imperial palace of the Han Dynasty had the "Yutangyuan". Later generations referred to the Hanlinyuan as "Yutang." The term "rich and dignified" comes from "The Analects of Confucius-Yan Yuan": "Shang Wen, life and death have fate, and wealth lies in the sky." It refers to the meaning of wealth and nobility. Folks often use orchids to symbolize Yutang, and peony flowers to symbolize wealth. These two flower pictures refer to Yutang's wealth and wish for a high position and prosperity. This picture is carved with golden pheasant, mandarin duck, peony, magnolia, begonia, rhododendron, lotus and other floral ornaments, covering the whole picture. Appreciation of works: The folk often use orchids to symbolize Yutang, and peony flowers to symbolize wealth and wealth. These two flower pictures refer to Yutang's wealth and wish for the promotion of position and wealth and nobility. The peony is coated with light powder, and the edges are dyed with heavy powder, making it crystal clear, solemn and elegant. The whole picture is warm and elegant, full of charm. The magnolia blossomed at the beginning, and the begonias flew brilliantly. After Xiu Shi, a few clusters of peonies were beautiful, and a wild pheasant was wandering in between. This picture composition method is quite distinctive. From the perspective of the whole picture, all the pictures are filled with peonies, magnolias, begonias, birds and rockery. They are very close and have obvious decorative features, which make the viewer feel rich and beautiful at a glance. This picture matches the three flowers of magnolia, begonia, and peony. Taking the "jade" of magnolia, and then the "tang" of begonia, the homophony becomes "Yutang"; as for the peony flower, it is originally the king of flowers and is called "the flower of wealth". , So it constitutes the title of "Yutang Wealth and Honor". Composition: In terms of composition techniques, this picture is unique and unique, with endless implications. The flower branches and leaves of this picture are carved out of outlines, and then applied with light colors. The gorgeous golden pheasant on the lake stone, the love bird on the magnolia tree, and the pair of mandarin ducks and birds depicted under the lake stone, leave no gaps, and are filled with paper. This kind of composition processing is precisely the painter's painstakingly conceived, original and innovative approach. The creator squeezed the flowers out of the curve, making people feel the expansion force of the flowers full of vitality. The eyes of the wild birds at the lower end are particularly eye-catching and energetic, and they undoubtedly form a fan with this eye point, which expands the limited space and gives the picture tension. It can be seen that the author's intention is to promote a blossoming, brilliant and vibrant atmosphere.