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偶然翻到《尹润生墨苑鉴藏录》一书,有一篇李润桓先生的文章《今之不藏,何由而古》,其中有“1982年我与内子访京,有幸拜谒尹老,请教旧墨;又于藻鉴堂(颐和园内的老北京市招待场所,当时是中国画研究院暂时办公地)拜访梁黄胄先生,谈及绘画用墨、好墨难得的问题。梁先生告诉我,20世纪五六十年代时,北京旧墨价廉,他还使用过和藏有乾隆墨、御墨若干笏,并告知现在新制有‘中国画研究院监制’系列墨(‘文革’后恢复生产特制油烟、油烟一〇一),也就是李可染、
Occasionally turned to ”Yin Runsheng Ink Court Kam collection,“ a book, there is a Li Runhuan article ”This does not hide, why ancient“, of which ”in 1982 I visited the prince and in Beijing, have the honor to worship Yin old, ask Old ink; and in algae Kam Tong (Summer Palace, the venue of the old Beijing hospitality, then the Chinese Painting Research Institute temporary office) to visit Mr. Liang Huangbi, talked about painting ink, a good ink rare problem .Liang told me, In the 1950s and 1960s, Beijing used cheap and inexpensive old ink. He also used and preserved Qianlong Ink and Wat Rongmu, and also told him that the new system now has a series of ink paintings produced by the Institute of Chinese Painting (the “Cultural Revolution” after the resumption of production of special Fumes, fumes one hundred and eleven), that is, Lee can dye,