刘宇一是本世纪六、七十年代成长起来的一位油画家,几十年来他所创作的作品,特别是反映重大题材的绘画使人记忆犹新。这位为海外市场看好的画家,凭借其深厚的功力和不断的探索,作品的价位屡屡创下中国绘画的纪录。刘氏的作品能吸引一批大财团,并为大典藏家们所踊跃竞购,是值得想走向艺术市场的画家们所学习和深思的。《刘宇一的艺术及作品市场行情》一文便值得国内关心艺术市场的收藏家和读者一读。 清代康雍乾时期的绘画,提到花鸟画,蒋廷锡可谓名重一时的重要画家。《国朝画征录》谓其“以逸笔写生,或奇或正、或率或工、或赋色或赋墨”都极精妙。蒋廷锡曾位至文华殿大学士、军机大臣,权当宰相之职。因此,他的作品更为士大夫所贵重,“士大夫雅尚笔墨者,多奉为楷模”,客观地说,蒋氏的身价也助成了他在艺术领域中的地位和影响,可以往的美术史和绘画史对其政治生涯和一帆风顺的仕途及政绩,论述简略、述说不多。林姝同志的《康雍两朝的名臣蒋廷锡——兼论蒋廷锡非宫廷画家》,罗材广泛,文章的大量篇幅以丰富的史料,勾勒出蒋氏的宦海历程。它对美术史论工作者深入认识和品评蒋氏的绘画艺术拓宽了思路。笔者也不仅想起当年在故宫博物院工作期间,书画组的一些老专家谈论蒋氏传世之作时,认为真迹较少、大多为代笔 Liu Yuyi, an oil painter who grew up in the 1960s and 1970s, has remembered the works he has created for decades, especially the paintings that reflect major themes. The painter who is bullish on overseas markets, with his profound skill and constant exploration, has repeatedly set the record of Chinese paintings. Liu’s work can attract a large number of consortia and bid for collectors. It is worth studying and thinking deeply about the art market artists. The article entitled “Liu Yuyi’s Art and Works Market” is worth reading for collectors and readers who care about the art market in China. During the Kangxi and Yongzhan paintings of the Qing Dynasty, referring to the flowers and birds paintings, Jiang Tingxi was an important painter of momentous name. “Quotations from the country toward the painting” states that it is extremely subtle in terms of “sketching”, “odd or even, or rate or work, or color or ink”. Jiang Tingxiu had been to Wenhua Hall University, Military Secretary, right to prime minister. Therefore, his work is more valuable to the doctor, “the literati Ya Shang-pen is more exemplary,” objectively speaking, Chiang’s worth has also contributed to his position in the field of art and influence, art history and can go to Painting history of his political career and smooth career and performance, discussion is brief, not much to say. Comrade Jiang Tingxi, Comrade Lin Shu-sang of the Kang and Yong Dynasties - and Jiang Tingxi’s non-court painter, extensively discuss the history of Chiang’s officialdom with a wealth of historical materials. It broadens the train of thought for art historians in-depth understanding and evaluation of Chiang’s painting art. I also not only remembered that during the work of the National Palace Museum in that year, some of the old experts in calligraphy and painting group talked about the legacy of Chiang’s relics,