垚舜艺术精品推荐：精品瓷板画赏析

王琦为"珠山八友"之首，生于1884年，卒于1937年，享年53岁。其初以捏面人为生，后向邓碧珊学画瓷板肖像。先以钱慧安仕女画为蓝本，后改学"扬州八怪"之一的黄慎，晚年的作品开始摆脱钱慧安和黄慎的影子，在继承中有了自己的特征，以写意人物画见长。

王琦传世之作较多，主要是人物画。1928年以前，其人物画的风貌中叮以看出学钱慧安的影子;后来学黄慎的笔墨技法，并逐渐脱离前人窠臼形成自己的风格。王氏尤其善神道人物和古典人物，赝品也以此类为多。从王氏人物画的笔墨特点来看，主要有以下几个特点:

Wang Qi was born in 1884 and died in 1937 at the age of 53. He made a living by kneading people's faces, and later learned to paint porcelain plate portraits from Deng Bishan. Based on the paintings of Lady Qian Hui'an, Huang Shen, one of the eight eccentrics of Yangzhou, began to cast off the shadows of Qian Hui'an and Huang Shen in his later years. Wang Qi handed down more, mainly figure painting. Before 1928, the style of his figure painting reflected that of Qian Hui'an; later, he learned the techniques of Huang Shen's brush and ink, and gradually broke away from the pattern of predecessors to form his own style. Wang is especially good at shinto figures and classical figures, and fakes are more common. From the Wang figure painting brush and ink features, there are the following main features:

一是王琦的人物画在乾隆粉彩的基础上，结合自己早年画瓷像的技艺，又吸收西洋画法，人物头部刻画细腻，以西画手法描绘人物脸部，明暗关系清晰，神情捕捉准确，光影富于变化，有西洋绘画晕染技法，立体感强，被后世称为"西画头子"。而模仿者往往是略加晕染，缺少细腻;稍有光影变化，但明暗层次不足;人物缺少神1青，若表情生硬的瓷上肖像画。

二是王琦的人物画，勾线用笔老辣，顿挫有力，衣纹虬结生姿，刚中有柔，整而不乱，介乎于中国传统减笔描与枯柴描之间，衣衫的表现以中锋用笔，有黄慎恣纵的笔意，线条简略流畅，准确凝练，遒劲有力尽显精神，有以草书入画的放达和力度。尤其中锋用笔，线条放达而又疏松，比黄慎的线条更有力度，也更概括，并能在黄慎的基础上白成一格，做到运笔疏松却又结构紧凑，线条捭阎却又抑扬顿挫。而模仿品勾线生硬，运笔的顿挫之态做作，笔力柔弱，线条零乱，不能较好地体现人物结构。

从王琦人物画的设色来看也有几个特点:一是早年作品设色细腻，渲染层次丰富，有瓷像画的微妙变化;二是既注重色彩的冷暖搭配，又不求浓重艳丽，具微茫之感;三是以干笔皴描人物的衣袍，轻敷淡染，层次丰富，并常用点虱之法补充层次。而模仿品设色平板，少阴阳层次变化，特别是染色之后的点虱之法，不随阴阳层次而变，徒有形式，不得要领。

First, Wang Qi's figure painting is based on the dry long pastel painting, combined with his skills in painting porcelain portraits in his early years, and absorbed western painting techniques. The head of the figure is depicted delicately, and the figure's face is depicted with western painting techniques. The light-dark relationship is clear and the expression is captured accurately, light and shadow rich in change, there are western painting Halo Dyeing Techniques, three-dimensional sense is strong, was later known as the "head of Western painting. ". And the imitator is often a little faint, lack of delicacy; a little light and shadow changes, but the level of light and shade is insufficient; the character is lack of Shen 1 Qing, if the expression of hard porcelain portrait. The second is Wang Qi's figure painting, the outline of the line with the pen is old and craggy, the strokes and strokes are strong and strong, the lines and veins of the clothes are knotted, the hardness is soft, the neatness is not disorderly, and it lies between the traditional Chinese brush-cutting and dry-wood brush-drawing, the clothes and shirts are written by the center with the pen, with the pen meaning of yellow carefully indulging, the lines are simple and smooth, precise and concise, powerful and full of spirit. There is the expressiveness and strength of drawing with cursive script. In particular, the center of the pen, lines and loose, more powerful than Huang Shen's lines, but also more general, and can be in Huang Shen on the basis of a blank space, do the pen and loose but compact structure, the lines of the sun but also cadence. And Imitate Product Hook Line is blunt, the state of stroke and contusion is affected, the pen force is weak, the line is messy, can not better reflect the character structure. From the perspective of the Color Design of Wang Qi's figure painting, there are also several characteristics: first, the early works with delicate color design, rich levels of rendering, there are subtle changes in porcelain painting; Third, dry brush to depict the characters of clothing, light, rich layers, and often use the method of lice to add layers. And imitation product design color plate, less yin-yang level changes, especially after dyeing the method of Point Lice, not with yin-yang level and change, only form, not the point.

另外在鉴定王琦作品时，从其书法的笔墨特点人手，也是十分关键的。王琦以草书题画，个人风格甚强，而且没有他人代书款的现象，因此书法是鉴别王琦作品的重要依据之一。民国初年的老仿品，大都无意去模仿其书法，有的仿品尽管各方面摹造得都很像，但书法多是离题万里。现代仿品很注意书法的模仿，并有专门题写王琦书体之人，但深研细究也只有其形，不得其骨。

In addition, when appraising Wang Qi's works, it is also very important to draw from the character of his calligraphy. Wang Qi to cursive calligraphy painting, personal style is very strong, and there is no other section of the phenomenon, so calligraphy is one of the important basis to identify Wang Qi works. In the early years of the Republic of China, most of the old imitation, have no intention to imitate its calligraphy, some imitation, although all aspects of imitation are very similar, but the calligraphy is far from the point. Modern Imitations pay attention to the imitation of calligraphy, and there is a special subject written Wang Qi calligraphy style, but in-depth study only its shape, not its bone.