雞血石之七(Chicken blood stone example 7)

鸡血石的鉴别

由于鸡血石资源日趋枯竭，产量越来越少，价格日益上涨。在高额利润的驱使下，鸡血石的处理及仿制相继出现，常见的处理方法如下：
充填处理是用胶或树脂将红色颜料或辰砂粉填充于裂隙或凹坑中，干燥后涂上一层树脂。
表面呈蜡状或油脂光泽，热针可熔，可见“血”颜色单一，多沿裂隙或凹坑分布，染料颗粒无定形，浮于胶中。
覆膜处理是用辰砂粉或红色颜料与胶混合，涂于表层以增加“血”色。可见“血”色飘浮于透明层中，偶见涂刷痕迹。
拼接、镶嵌处理是将有血的鸡血石薄片用胶水拼接、镶嵌在鸡血石无血部位，并做雕刻或抛光。这种鸡血石质地花纹和血形分布走向不自然、不连续，仔细观察可见结合部的拼接、镶嵌痕迹。
仿鸡血石是用人工合成械料或无色的鸡血石粉末，加上辰砂粉或红色颜料胶合压制而成。
其鉴别方法是仔细观察结构特征，如地颜色申调。几乎不透明。血形分布异常。密度特征也不同，触摸有温感等等。

据考证，鸡血石的开采始于宋代，而盛名于清代，康熙、乾隆、嘉庆等皇帝十分赏识昌化鸡血石，将其作为宝玺的章料。国家邮政局日前发行的一套《鸡血石印》特种邮票印的就是两方宝玺。 　　上世纪70年代初，日本前首相田中角荣、前外相大平正芳来我国访问，周恩来总理将昌化鸡血石对章，作为国礼馈赠两位贵宾。操刀奏石者是集云阁篆刻家沈受觉、刘友石先生。于是，鸡血石在日本名声大噪，掀起了一股收藏鸡血石热潮。大批日本游客来华时，必将鸡血石作为首选礼品带回。在我国，国人对鸡血石的收藏投资热情也逐年上升。

Chicken blood stone identification

Because chicken blood stone resources are depleting, yield less and less, the price rising. Driven by high profits, soapstone processing and imitation have appeared, a common approach is as follows:
Filling treatment is to use glue or resin or cinnabar red pigment powder to fill in cracks or pits, coated with resin after drying.
Surface was waxy or oil sheen, hot needle fusible, showing "blood" single color, multi-distribution along fissures or pits, dye particles of amorphous, floating on the gel.
Film processing is cinnabar red pigment powder or mixed with glue, applied to the surface in order to increase the "blood" color. Visible "blood" color floating in the transparent layer, occasionally brushing traces.
Mosaic, mosaic processing is to have blood Bloodstone sheet with glue mosaic inlaid in parts of soapstone without blood, and make carved or polished. This Soapstone texture pattern and blood-shaped distribution toward unnatural, not continuous, careful observation of junction visible stitching, mosaic traces.
Bloodstone is synthetic imitation firearms soapstone powder or colorless material, coupled with cinnabar red pigment powder or glued repression.
The differential method is to carefully observe the structural features, such as ground color Shen tone. Almost opaque. Shaped distribution of blood abnormalities. Density characteristics are also different, touch a warm feeling and so on.

雞血石之六 (Chicken blood stone example 6)

鸡血石价值的判断

鸡血石经济价值很高，国内外均享有盛誉。

鸡血石

首先看血，以血多而浓、色艳、形美为位。如印石血色全而红为上品，称为“大红袍”；四面红次之；顶脚红、单面红、局部红更次之。

其次看质地

质地一般由颜色、透明度、光泽、硬度决定。通常有冻地、钦地、刚地、硬地之分。其中以冻地最佳，它有白、粉、黄、灰、绿、黑等颜色，而又以色自如玉、纯净剔透的羊脂陈地为最上品。 　　鸡血石以色匀、透明度高、硬度低、质细腻为好。

瑕疵

照疵直接影响鸡血石的品质，以杂质、裂结少为好。

Chicken blood stone value judgments

Chicken bloodstone high economic value, are well-known at home and abroad.



Bloodstone
     First look at the blood, with blood many and thick, colorful, shaped the United States for a bit. If printed full color and red stone for the top grade, known as the "Big Red"; surrounded by red, followed by; top foot red, single-sided red, local red more times.
Second, look at the texture
     General texture of the color, transparency, gloss, hardness determined. Usually frozen ground, Chin, the just, the hard of points. Among the best frozen ground, it has a white, pink, yellow, gray, green, black and other colors, but in color from jade, carved pure suet Chen for the top grade. Bloodstone with uniform color, high transparency, low hardness, fine and smooth as well.
Defect
     Blood stone according to directly affect the quality of the defect, an impurity, crack junction small as well.

雞血石之五(Chicken blood stone example 5)

鸡血石是中国“国石”和“印石三宝”之一，并享有“印石皇后”的美称，主要用作印章和工艺雕刻品，有雅俗共赏的品格、丰富的文化内涵和诱人的艺术魅力，在玉雕工艺中形成了“鸡血” ,雕独特流派，其作品以“瑰丽、精巧、高雅、多姿”著称。毛泽东、周恩来都留将鸡血石选为国礼赠送外宾‘、鸡血石的基本特征鸡血石的矿物组分为地开石、高蛤石、叶蜡石、辰砂及少量的赤铁矿和石英。由“地”和“血”两个部分组成，“地”常呈白色、灰白、灰黄白、灰黄、褐黄等色，“血”呈鲜红、朱红、暗色等红色，6辰砂的颜色、含量、粒度及分布状态决定，氧化后会变黑。硬度2—3，非均质集合体，相对密度2.53—2.68。折射率“地”约1.56（点测法），“血”大于1.81。放大检查可见“血”呈微细粒或细粒状，成片或零星分布于“地”中。
按产地分昌化鸡血石和巴林鸡血石。
 

鸡血石有“南血北地”之说。“南血”是指南方产的昌化鸡血石指北方产的巴林鸡血石，质地细腻湿润，极少硬块（钉），易于雕刻。
此外，昌化鸡血石中的鸡血与周围非鸡血颜色往往绝然分开，血形分布具明显的方向性，高档品血聚集程度高。而巴林鸡血石中的鸡血与周围非鸡血部分颜色往往逐渐过渡，血不具方向性，血形比较分散，巴林鸡血石见光后颜色常变为暗红色。昌化鸡血石中经常有石英斑晶，俗称钉；而巴林鸡血石中无石英斑晶。

Chicken bloodstone is the Chinese "National Stone" and "Indian Stone Sambo" one, and enjoy the "Indian Stone Queen" reputation, mainly for seals and craft carvings, there are tastes of character, rich culture and artistic charm seductive in jade carving in forming a "chicken", carved a unique genre, his work as "magnificent, delicate, elegant, and colorful," said. Mao Zedong, Zhou Enlai and are left will be selected as country gifts soapstone foreigners', the basic characteristics of Bloodstone Bloodstone mineral group was divided into dickite, high clams stone, pyrophyllite, cinnabar and a small amount of hematite and quartz. From the "land" and "blood" of two parts, "ground" often has white, gray, gray and yellow white, gray and yellow, brown and yellow colors, "blood" was bright red, scarlet, dark red, etc., 6 cinnabar colors, content, particle size and distribution decisions, oxidation will be black. Hardness 2-3, heterogeneous collection, the relative density of 2.53-2.68. Refractive index "ground" about 1.56 (point measure), "Blood" is greater than 1.81. Enlarge examination showed "blood" was micro-fine or fine granular, sheets or scattered in "ground" in the.
By origin and Bahrain Bloodstone Bloodstone.

Chicken blood stone has "South blood North," said. "Southern Blood" is a guide side produced Bloodstone Bloodstone refers to the northern production Bahrain, moist, delicate texture, and very few lumps (nails), easy carving.
In addition, Bloodstone around the chicken and non-chicken colors are often radically separated from blood-shaped distribution with a clear direction, a high degree of aggregation of blood luxury goods. The Bahrain Soapstone around the chicken and chicken parts non-color is often a gradual transition, the blood is not directional, blood-shaped scattered, Bahrain Soapstone often see the light into a dark red color. Bloodstone is often quartz phenocrysts, commonly known as nail; while Bahrain Soapstone no quartz phenocrysts.

雞血石之四 (Chicken blood stone example 4)

雞血石以其天然如雞血紅艷血色為名，與青田石、壽山石並稱印章石三寶，受害的「三妹典藏」藝術館總經理潘善強說，雞血石上顯現的「雞血」，是俗稱「硃砂」的硫化汞滲透到高岭石內而形成，硬度為二到三度，所以用指甲在雞血石上刮，會刮出石粉，坊間常見以樹脂冒充的假雞血石則硬度高，無法刮出石粉，且手握沒有石質的冰涼感。 雞血石的價格，依雞血的含量、顏色、血形、濃度而定，據他所知，曾有1顆質地好、重約4公斤的雞血石原石，在業界喊價到3億元。 目前市場上人工處理或假雞血不少，常見以拼接、鑲嵌、塗繪、上膠及再造雞血石為主，拼接鑲嵌是用碎雞血石去鑲嵌，仔細觀察即可看見拼接痕跡；塗繪上膠多以硃砂或大紅水彩與樹脂為原料，塗繪在血色少的雞血石或無血色的石上，以假血仿造真血，以顯微鏡放大觀察可見膠黏劑中的氣泡；再造雞血石則是將塊度較小的雞血原料粉碎成細小的粒度，再將紅色染料與膠黏劑均勻混合，固化後做成塊狀體再加工成各種形狀。 雞血石在台不普及，變賣流通不容易，銀樓當鋪也少經手。 Chicken blood stone, Qingtian stone and Shoushan stone are the 3 collectors stone. Bloodstone appeared on a" chicken ", is commonly known as" cinnabar "mercuric sulfide penetrate into kaolinite formed within, the hardness of two to three degrees, so with a fingernail scratch on the soapstone will scrapings powder, printing with resin posing as fake common heliotrope is high hardness, not scraped powder, and holding no stony cold feeling. Bloodstone price, according to the content of chicken, color, blood type, concentration, to his knowledge, had a good texture, weighing about 4 kg of soapstone original stone in the industry outcry to 300 million yuan. Currently on the market a lot of manual handling or fake chicken, common to mosaic, mosaic, paint, glue and recycled soapstone mainly mosaic inlaid with mosaic pieces soapstone go, you can see the stitching carefully observed traces; painted on the plastic mostly vermilion or red watercolor and resin raw materials, painted in the color of soapstone or no less bloody stone, imitation true Blood in fake blood, observed under a microscope magnification bubbles in the adhesive; recycled soapstone sucked fragmentation chicken smaller particle size material is comminuted into small, then the red dye and the adhesive uniformly mixed and then cured to make the lump processed into various shapes.

國畫藝術之四 (Chinese painting art example 4)

Chien Shuan ( 錢選 ) ca. 1235 - before 1307 (Pinyin: Qian Xuan)

Chien Shuan was one of a group of poets and cultivated scholars active in the late Sung Dynasty and early Yuan Dynasty known as the Eight Talents of Wuxing. A renowned flower and bird painter, he was also good at painting landscape and figures. He often used heavy mineral pigments with line-and-color-wash technique in his "blue-and-green" landscape style.

雞血石之三 (Chicken blood stone example 3)

產於浙江省昌化上溪鄉的田黃裏，發現了田黃和雞血石共生的獨石。原石的外表細滑圓潤，雞血的顏色鮮艷亮麗。

其生成的源由是古時候昌化雞血石因造山運動的變化，大小不等的毛料滾入了水田裏，礦石內的元素，在水份，溫度及土壤等因素的影響之下，長期浸潤，漸漸地形成獨特的〝田黃雞血石

尊貴的〝石中之王〞與嬌艷的〝石中之后〞共生而成的田黃雞血石，真可謂是稀世珍寶。流入市面上的數量非常稀少因其非常珍貴，所以大多保留原形。以質地透靈，血色鮮活為上品。

如切割成印章，以〝方〞，〝正〞，〝大〞為難得。加上工藝師巧手設計而成的雕飾品亦屬難能可貴之收藏品。  

Produced in Zhejiang Changhua Township on the Tianhuang, found a symbiotic Tianhuang and soapstone monolith. Original stone exterior smooth mellow, chicken's bright colors bright.

Its source is generated due to the ancient times Bloodstone orogeny changes, ranging in size wool rolled into paddy fields, ore element in moisture, temperature and soil under the influence of factors such as long-term infiltration, gradually formed a unique "Tianhuang Bloodstone

Distinguished "stone of the King" and the blooming of the "stone after" symbiosis made ​​Tianhuang heliotrope, turns out to be a rare treasure. Provided the market is very rare because of the number of very precious, so most keep the original form. Through the Spirit in texture, color fresh for the top grade.

Such as cut seals in order to "party", "positive", "big" is rare. Plus designed by skilled craftsmen carved jewelry is also valuable in the collection. 

雞血石之二 (Chicken blood stone example 2)

在中國文物中，印材一直是受到文人雅士喜愛的主題之一，而在印材中最特殊的應該是產於浙江昌化的雞血石，因為雞血石並不像其他印材講究繁複的雕工，反而特別重視血色和質地自然肌裡紋路的配合，從而產生趣味，因而麗質天生的條件在眾多印材中出類拔萃，而非一般工藝品。

aaaa雞血石發現於中國明代（公元1368年）至今已有六百年的光景，於清代乾隆間（公元1736年至1795年）以後更被王宮貴族重視，除了雕刻工藝品外，又將它切磨成印章，作為皇宮、王府貴重珍藏品。據清道光三年（公元1823）年所修（昌化縣志）記載：雞血石中有紅點如硃砂、質地亦有青紫如玳瑁者為上品，良可愛玩難得罕見矣。

產地：浙江省臨安縣昌化鎮玉岩山。 石名：雞血石（印石之后） 質地：硃砂與葉腊石共生的天然凍石（歸屬半寶石）。紅色成分：硃砂、血形有片血、條血、硃砂點血。 
質地成分：葉腊石是形成凍石的主要元素，可產生各種色彩。

Relics in China and India has been the subject material literati favorite themes, and in the most special printed material should be produced in Zhejiang Changhua Bloodstone, Bloodstone because unlike other printed material exquisite carving complex, but special attention color and texture of natural muscle co-ordination in the lines, resulting in fun, and thus the conditions of natural beauty excel in numerous printed materials, rather than general crafts.

aaaa soapstone found in the Chinese Ming Dynasty (AD 1368) has been six century ago, Qianlong in the Qing Dynasty (AD 1736-1795) was aristocratic palace after more attention, in addition to carving crafts, but again it is Cutting into the chop, as the Royal Palace, the palace precious treasures. According to the Qing dynasty three years (AD 1823) year of repair (Changhua County) records: Bloodstone has red spots such as cinnabar, texture also bruising as hawksbill for the top grade, good playing pretty rare rare carry on.

Place of Origin: Zhejiang Lin'an County, Changhua Town, Yu Tor.
Stone Name: Bloodstone (OVL after)
Texture: cinnabar and pyrophyllite symbiotic Natural steatite (vesting semi-precious stones).
Red component: cinnabar, a blood-shaped piece of blood, of blood, cinnabar some blood.
Texture Composition: pyrophyllite is the formation of the main elements of steatite, can produce a variety of colors.

雞血石之一 (Chicken blood stone example 1)

昌化雞血石的鑑定: 
昌化雞血石既為印石三寶之一，自古至今，以偽當真的情形時有所聞。以下是幾種常見作偽方法，提供消費者做為參考，以避免吃虧上當。

(1) 假血：以硃砂顏料塗染於價廉之石質印材，原石，擺件上。此法操作簡單，成本低廉。但人工塗染的紋理無法達到礦液天然滲染的效果，憑肉眼辨識，簡單易認。

(2) 鑲接：將雞血石邊料血紅的部份，切成大小不等的薄片，鑲接入血色含量不高的雞血石上，利用拼接的手法，冒充雞血石真品。現今市面上有許多的擺件用此法做偽，加上雕刻掩飾接縫，須小心注意血紅紋理的邊緣。

(3) 貼皮：將質佳血色含量多的雞血石切成薄片，黏貼於價廉石材的六面，拼接成方正成材的上品印章。可於印章的底部及四面的角線部份，發現接縫的痕跡。

(4) 人造雞血石：利用硃砂，化學顏料及塑膠原料等混合凝結製成贗品雞血石毛料。再加工切磨製成印材，或請工藝師雕刻製成華麗精美之雞血石擺件。近來亦有不少此類贗品流入市面上，消費者應多加小心。

aaaa以上幾種贗品雞血石多於表面製做一層薄薄的護膜，以火焰接觸贗品雞血石表面一至二分鐘後，發出陣陣難聞的刺鼻惡臭。而且人工合成原料與天然礦石不論在重量、質感、溫度上均有明顯的差異。贗品在重量上比真品昌化雞血石輕，但也有贗品於其中包含鉛塊，以增加其重量。贗品的手感及溫度不如真品來的溫潤、冰涼。基本上選購昌化雞血石最好向專業且信譽良好的業者購買，多看多比較，將會有助於維護您的自身的權益。

保養方式：避免長期間受到強光照射，平時放置錦盒中陰涼處即可。

aaaa為滿足愛好者及收藏家的需要，本公司收集各種雞血石印材及擺件、人物圖章，歡迎親臨指導。謝謝！

Bloodstone Identification:
Bloodstone both for the Indian stone Sambo, since ancient times, when the situation really pseudo heard. The following are some common fake methods that provide consumers as a reference in order to avoid disadvantage fooled.

(1) fake blood: the cinnabar pigment paiting on the rocky inexpensive printed material, the original stone ornaments on. This method is simple and low cost. But artificial chromosome painting texture can not reach mine dyed liquid natural seepage effect, identify with the naked eye, simple and easy to recognize.

(2) splice: Bloodstone edge material will be part of hemoglobin, cut into thin slices of varying sizes, set access levels are not high bloodstone Scarlet, using splicing techniques, posing Bloodstone genuine. Many of the ornaments on the market today use this method to make false, plus engraving conceal seams to be careful attention to blood-red textured edges.

(3) veneer: Bloody good quality content will be more bloodstone sliced ​​adhesive on the cheap six-sided stone, spliced ​​into the top grade Founder timber seal. Available at the bottom and sides of the seal moldings part, found traces of the seam.

(4) Artificial Bloodstone: the use of cinnabar, chemical pigments and plastic materials such as wool blend condense into fake bloodstone. Cutting into printed material reprocessing, or ask craftsmen beautifully ornate carvings made of soapstone ornaments. Recently, quite a number of these fakes inflows on the market, consumers should be more careful.

Several more fakes than aaaa soapstone surface making a thin layer of protective film to flame impingement fakes soapstone surface one to two minutes later, bursts unpleasant pungent stench. And synthetic raw materials and natural minerals, whether in terms of weight, texture, temperature differences are obvious. Fakes in weight than genuine Bloodstone light, but there are fakes which contains lead weights in order to increase its weight. Fakes as genuine feel and temperature to the warm, cold. Basically the best to buy Bloodstone professional and reputable industry purchase, see more comparison will help maintain your own interests.

Care instructions: Avoid long periods exposed to strong light, usually placed in the shade palette can be.

We collect and meet the needs of our printed material and collect a variety of chicken blood stone ornaments, character stamp, welcome to visit guidance. Thank you!

鸡血石介紹(Chicken blood stone)

鸡血石是辰砂条带的地开石，其颜色比朱砂还鲜红。因为它的颜色像鸡血一样鲜红，所以人们俗称鸡血石。我国最早发现的鸡血石是浙江昌化玉岩山鸡血石。后来又发现了内蒙古赤峰市巴林右旗的巴林鸡血石。20世纪90年代又在陕西、甘肃、四川、湖南、云南等地发现了鸡血石。由于现在的昌化朱砂（汞矿）已近尾声，所以出产的鸡血石产量相当有限，市场价格日增不衰。

Chicken blood stone is cinnabar strip Dickite, its color is also more than cinnabar red. Because of its bright red color like blood, like, so people called chickebloodstone. China's earliest discovered in Zhejiang Changhua Bloodstone Bloodstone Jade rock. Later it was found in Inner Mongolia Chifeng City Balinyouqi Bahrain bloodstone. In the 1990s and in Shaanxi, Gansu, Sichuan, Hunan, Yunnan and other places discovered soapstone. Because now Changhua cinnabar (mercury) is almost complete, so produced soapstone production is quite limited, increasing the market price is not bad.

國畫藝術之三 (Chinese paiting art example 3)

Ni Zan ( 倪瓚 ) 1301 or 1306 -1374

Ni Zan was born in a wealthy land-owning family in Jiangsu Province. He was by nature aloof and arrogant and had mysophobia. The eccentric Ni Zan built his Pure and Secluded Pavilion ( 清閟閣 ) where he kept collections of antiques, paintings, and calligraphy and enjoyed the company of famous scholars and poets of refined tastes according to his judgment. Already by 1330s, series of floods, droughts, and consequent famine and peasant revolts brought this ideal existence to an end as the Yuan Dynasty began to unravel.  For twenty years, beginning in 1351, Ni Zan wandered with his family through the southeast China, living in a houseboat or staying with friends and acquaintances, and often repaid their hospitality with his paintings. In his earlier paintings, he often painted widely separated riverbanks rendered in sketchy and ink monochrome brushwork  and foreground trees silhouetted against the expanse of water. His sparse landscapes rarely represent people and defy many traditional concepts of Chinese painting. Many of his works hardly represent the natural settings they were intended to be depicted. Indeed, Ni Zan used his art as a medium of expression. In 1364, he said “I use bamboo painting to write (note) out the exhilaration in my breast, that is all. Why should I worry whether it shows likeness or not?” (note: Many Chinese brush painting masters often proclaim they are "writing objects" with brushes since most of the brush painting techniques were derived from the methodologies of Chinese calligraphy brushstrokes. Like all of the Four Masters of the Yuan painting, Ni Zan’s brush techniques originated from calligraphy.) Ni Zan landscapes truly bring out the great importance of brush work in Chinese landscape painting, especially that of the literati painting tradition. His minimalism turns every single brush stroke into an emotional statement that cannot be ignored. The almost compulsive repetition of themes throughout his career has never led his art to lose its originality and emotional vigor. Scholars read Ni Zan's paintings of simple, almost barren, and unpeopled landscapes as expressive of a longing for a simpler, cleaner, and peaceful world.  Already shortly after Ni Zan's passing, the cultural levels of the families in Jiangnan, the southeast region of China, were evaluated according to whether or not they owned one of his works.

國畫藝術之二 (Chinese painting art example 2)

Huang Gong-Wang ( 黃公望 ), 1269-1354

As an innovative landscapist after Zhao Meng-Fu, Huang Gong-Wang was among the Four Great Masters of Yuan painting along with Ni Zan, Wang Meng, and Wu Zhen. He was good at music and poetry and was a teacher of Daoist philosophy. However, he started painting later in his life and developed his landscape style around age 50.  Huang Gong-Wang was the eldest and the most prominent of the four great landscapists of the Yuan Dynasty and he probably exercised more influence than any other painter on the development of the so-called "School of Chinese Literati Painting" during the Ming and Ching Dynasties.  Huang decisively altered the course of landscape painting, creating models that would have a profound effect on landscapists of later centuries. He utilized modular construction in painting landscape masses with composites of dynamically interacting parts by infusing geometric or ovoid and arc objects repeatedly at some sacrifice of pictorial or descriptive values. His schematic and dynamic formalism had great influences on Ni Zan, Dong Chi-Tsun ( 董其昌 ), and the Four Wangs of the early Ching Dynasty. Generally speaking, the works of Huang Gong-Wang may be divided into two stylistic types. In one type of painting, he used light purple color, whereas the other type was executed in black ink only, the portrayal of the surfaces of rocks and trees being very much simpler in structure and technique than the first type.  His famous essays "Secrets of Landscape Painting ( 寫山水訣 )" include theoretical pronouncements and techniques on brushstrokes, ink, colors, adding alum to silk and so on. Huang spent the remainder of his life in the Fuchun mountains near Hangzhou. In his famous Dwelling in the Fuchun Mountains, he utilized Zhao Meng-Fu's method of interweaving thick and dry brushstrokes to create visually tangible forms. He painted darker brushstrokes over lighter ones, and drier brushstrokes over wetter ones, to create richer textures and a stronger sense of tactile surface. This long handscroll by Huang Gong-Wang is among the most famous paintings in Chinese history. It is considered an epitome of literati landscape painting and has enormous influence on later ages. Depicted in this handscroll is a tree, west of Hangzhou, to which Huang returned in his later years. Beginning with a vast expanse of river scenery at the right, we move on to the mountains and hills, then back to areas of river and marsh that end with a conical peak. We finally come to the end of our wandering through the landscape as it ebbs out in the distant ink-wash hills over the water. The composition was first laid out in light ink and then finished with successive applications of darker and drier brushwork. Sometimes shapes were slightly altered, contours strengthened, and texture strokes or tree groups added here and there. Finally, brush dots were distributed across the work as abstracted accents. Buildings, tree limbs, and foliage are reduced to the simplest of forms as Nature has been translated into the artist's terms of brush and ink. According to his inscription, Huang wrote that he created the design in a single outburst of energy in one sitting. He worked on the painting on and off when the mood struck him from about 1347 to 1350. This representation of the Fuchun mountains was painted for a fellow Daoist named Master Wu-Yung and became Huang's greatest surviving masterpiece. Wu-Yung ( 無用 ), literally Worthless, was a facetiously self-deprecating sobriquet of the Daoist man. Worrying that someone else might get the painting, Wu-Yung urged Huang to inscribe in advance, in contrast to the convention that Chinese always inscribe on painting when or after it's finished.

國畫藝術之一 (Chinese painting art)

Zhao Meng-Fu ( 趙孟頫 ) 1254-1322

Zhao Meng-Fu was a descendent of Sung Dynasty's imperial clan. Nevertheless, he became a government official and served under five emperors of the Yuan Dynasty. He tried his best to help Han people and worked to reinstitute the civil service examination system. In spite of his high position later on, he had always wanted to retire from public life which was reflected in his reclusive style landscape paintings.  By the middle Ming Dynasty, Zhao Meng-Fu, Huang Gong-Wang, Wang Meng, and Wu Zhen were widely known as the Four Great Masters of Yuan painting. It was until the late Ming Dynasty that Dong Chi-Tsun asserted that Zhao should own a higher position. He crowned Zhao above the others and added Ni Zan to the Four Great Masters of Yuan painting. (Earlier groupings may have included Gao Ke-Gong. Many sources state that Dong intentionally substituted Zhao with Wu Zhen or Ni Zan because of Zhao's dishonorable collaboration with the Yuan court, or perhaps Dong's envy of Zhao's achievements in calligraphy.)  Zhao was a versatile calligrapher and painter who cast a strong influence on his followers since his time. He was good at all five major styles of calligraphy and painting horses, flowers and birds, landscapes, figures, and many other genres. His artistic assertions played a vital role in the development of Chinese calligraphy and literati painting. Zhao studied carefully earlier painting models of Dong Yuan and others and incorporated the unique Chinese multi-vanishing point perspectives (including foreshortening and level-distance) to create somewhat controversial and influential masterpieces. He wrote that his paintings, though seemingly quite simple and carelessly done, were based on earlier masterpieces and would be appreciated by connoisseurs, but not ignoramuses.

中國國畫 (Chinese painting)

中國繪畫的傳統風格被稱為今天中國國畫，意思是'國家'或'原生畫“，而不是西方的藝術風格，在中國開始流行在20世紀。傳統繪畫本質上涉及書法相同的技術，是用毛筆蘸黑色或彩色墨水;不使用油。與書法，繪畫都是由最流行的材料是紙和絲綢。完成的工作，可以安裝在滾動，如掛軸orhandscrolls。傳統的繪畫也可以做張專輯，牆壁，漆器，屏風，和其他媒體。

Chinese painting in the traditional style is known today in Chinese asguó huà (国画), meaning 'national' or 'native painting', as opposed to Western styles of art which became popular in China in the 20th century. Traditional painting involves essentially the same techniques as calligraphy and is done with a brush dipped in black or colored ink; oils are not used. As with calligraphy, the most popular materials on which paintings are made of are paper and silk. The finished work can be mounted on scrolls, such as hanging scrolls orhandscrolls. Traditional painting can also be done on album sheets, walls, lacquerware, folding screens, and other media.