作者:喬.納瓦羅、馬文.卡林斯
原文作者:Joe Navarro、Marvin Karlins,
譯者:林奕伶
出版社:大是文化
出版日期:2009年03月31日
He says that’s his best offer. Is it?
She says she agrees. Does she?
The interview went great—or did it?
He said he’d never do it again. But he did.
Read this book and send your nonverbal intelligence soaring. Joe Navarro, a former FBI counterintelligence officer and a recognized expert on nonverbal behavior, explains how to ”speed-read” people: decode sentiments and behaviors, avoid hidden pitfalls, and look for deceptive behaviors. You’ll also learn how your body language can influence what your boss, family, friends, and strangers think of you. You will discover:
The ancient survival instincts that drive body language
Why the face is the least likely place to gauge a person’s true feelings
What thumbs, feet, and eyelids reveal about moods and motives
The most powerful behaviors that reveal our confidence and true sentiments
Simple nonverbals that instantly establish trust
Simple nonverbals that instantly communicate authority
Filled with examples from Navarro’s professional experience, this definitive book offers a powerful new way to navigate your world.
Thursday, April 29, 2010
Tuesday, April 27, 2010
Thursday, April 22, 2010
金色筆記28 : 女人須要甜言...諾言。
喜歡美麗的Versage餐具茶具,
還有水晶吊燈。。。
宮廷式的迴旋梯...
然後順著回旋梯轉啊轉...
當頭暈時,就叫做戀愛...
怎像十七歲女孩ㄦ說話?!
Saturday, April 17, 2010
Thursday, April 15, 2010
金色筆記 27 :當今教育的缺失。。。
君子有三戒,
少之時,血氣未定,戒之在色;
及其壯也,血氣方剛,戒之在鬥;
及其老也,血氣既衰,戒之在得。
當有人對我們不友善時,我們別跟他們鬥。
但是也別當隻小白鼠任人宰割,毫無尊嚴可言!
我們必須釋出善意,表達關愛!
但是也必須讓對方知道他的行徑,傷害到我,我受了侵犯,適度表達我極度的不悅。
倘若,這些人傷害人的意圖是刻意的,是有心的,
在法律上即是蓄意傷害,或蓄意殺人。即是殺人未遂。皆視為極嚴重的罪行。絕不可為之!
現代知識份子,尤其是所謂高知識份子,在情緒控制上如同小孩搬恣意放縱無受教養,與孔夫子的教導,完全背道而馳。即是當今教育最需要注意的事務! 不然,社會上,子弒父母,殺情人,殺夫殺妻,甚至弒子事件層出。當今教育,只注重如何運用手段利用人,賺取金錢財富,疏不知,情感,修身,修性情的重要性,遠遠大於前者。
之前,我會因為自己的親人或愛人傷害我的行為,而對人性大大的失望,每天以淚洗面,暗自哭泣。曾經賦予寄託,賦予信心的人性的美好善良的一面,都再一次又一次的被最信賴的人摧毀。甚至曾想要自殺,離開這個可怕的世界,離開這個沒有真愛的世界。
大部分時候,他們還是很愛護我的。。。但是。。。。
可悲的是,人性可否信任? 當我們必須握有保護令,才能保護自身的安全時,我們如同生活在地獄當中。佛家說: 我們不要把自己的痛苦加諸在別人身上,我們也不必要背負別人的痛苦,把自己陷在地獄當中。所以,保護自己更是重要。
如今,我了解,我何必因為別人對我的不友善,因為別人的自身問題,刻意在我身上發洩,刻意傷害我,而我反而不好好的愛護自己,而反來傷害我自己?讓別人傷害我更得逞了? 或是讓他們後悔來折磨大家的心? 這世界上,只要是凡人,任何的父母,愛人,朋友或是子女,都不會是真正的愛我們的。 相信吧! 這世界上,無私的愛,是找不到的。只有靈魂心靈高級進化的人,才有可能。。。。。! !
有靈性的人? 靈魂高度進化的人? 我們需要與這樣的人在一起,才會感覺平和,才會感到快樂! 我們自己,更要成為這樣的人!!
君子有三戒,
少之時,血氣未定,戒之在色;
及其壯也,血氣方剛,戒之在鬥;
及其老也,血氣既衰,戒之在得。
共勉之。
少之時,血氣未定,戒之在色;
及其壯也,血氣方剛,戒之在鬥;
及其老也,血氣既衰,戒之在得。
當有人對我們不友善時,我們別跟他們鬥。
但是也別當隻小白鼠任人宰割,毫無尊嚴可言!
我們必須釋出善意,表達關愛!
但是也必須讓對方知道他的行徑,傷害到我,我受了侵犯,適度表達我極度的不悅。
倘若,這些人傷害人的意圖是刻意的,是有心的,
在法律上即是蓄意傷害,或蓄意殺人。即是殺人未遂。皆視為極嚴重的罪行。絕不可為之!
現代知識份子,尤其是所謂高知識份子,在情緒控制上如同小孩搬恣意放縱無受教養,與孔夫子的教導,完全背道而馳。即是當今教育最需要注意的事務! 不然,社會上,子弒父母,殺情人,殺夫殺妻,甚至弒子事件層出。當今教育,只注重如何運用手段利用人,賺取金錢財富,疏不知,情感,修身,修性情的重要性,遠遠大於前者。
之前,我會因為自己的親人或愛人傷害我的行為,而對人性大大的失望,每天以淚洗面,暗自哭泣。曾經賦予寄託,賦予信心的人性的美好善良的一面,都再一次又一次的被最信賴的人摧毀。甚至曾想要自殺,離開這個可怕的世界,離開這個沒有真愛的世界。
大部分時候,他們還是很愛護我的。。。但是。。。。
可悲的是,人性可否信任? 當我們必須握有保護令,才能保護自身的安全時,我們如同生活在地獄當中。佛家說: 我們不要把自己的痛苦加諸在別人身上,我們也不必要背負別人的痛苦,把自己陷在地獄當中。所以,保護自己更是重要。
如今,我了解,我何必因為別人對我的不友善,因為別人的自身問題,刻意在我身上發洩,刻意傷害我,而我反而不好好的愛護自己,而反來傷害我自己?讓別人傷害我更得逞了? 或是讓他們後悔來折磨大家的心? 這世界上,只要是凡人,任何的父母,愛人,朋友或是子女,都不會是真正的愛我們的。 相信吧! 這世界上,無私的愛,是找不到的。只有靈魂心靈高級進化的人,才有可能。。。。。! !
有靈性的人? 靈魂高度進化的人? 我們需要與這樣的人在一起,才會感覺平和,才會感到快樂! 我們自己,更要成為這樣的人!!
君子有三戒,
少之時,血氣未定,戒之在色;
及其壯也,血氣方剛,戒之在鬥;
及其老也,血氣既衰,戒之在得。
共勉之。
Wednesday, April 14, 2010
Nurture Shock 1 : "教養大震撼"
"當今教育的缺失" 一文討論:
讀者:
現在的教育我也感到好無力,目前接觸的國中生是如此的難敎,家長甚至要我們配合小孩的個性,老天!我真的不敢想像未來的台灣會是如何?
菩提樹之舞: Mind Dancer said...
有本書挺好的,"教養大震撼" 可給那些家長看看! 只重視知識教育,是當今最大的問題,放縱溺愛或錯誤教育,也會讓這些學生長大後,毫無抗壓能力,自傲自以為是,無法面對困境挑戰。
若這些世代的人都是如此,也許大家在社會上競爭起來,就如同娃娃兵打娃娃兵...ha。
我認為,到時就只有特別優秀天才型的,及有毅力心智健康堅強的人物,才會出頭才能生存。
真正的M 型理論實現。
這些不是身在雲端的人,就只好成天埋首自戀,自憐!
當個所謂的"鬼娃";
也就是外表討人喜愛,諂媚媚俗,但是卻是極會欺負人的魔鬼,但是內心又是個極懦弱的娃娃。。。!!
當"鬼娃"充斥,社會事件必層出不窮。
所以,端正當今教育的風氣,是多麼的重要!
讀者:
現在的教育我也感到好無力,目前接觸的國中生是如此的難敎,家長甚至要我們配合小孩的個性,老天!我真的不敢想像未來的台灣會是如何?
菩提樹之舞: Mind Dancer said...
有本書挺好的,"教養大震撼" 可給那些家長看看! 只重視知識教育,是當今最大的問題,放縱溺愛或錯誤教育,也會讓這些學生長大後,毫無抗壓能力,自傲自以為是,無法面對困境挑戰。
若這些世代的人都是如此,也許大家在社會上競爭起來,就如同娃娃兵打娃娃兵...ha。
我認為,到時就只有特別優秀天才型的,及有毅力心智健康堅強的人物,才會出頭才能生存。
真正的M 型理論實現。
這些不是身在雲端的人,就只好成天埋首自戀,自憐!
當個所謂的"鬼娃";
也就是外表討人喜愛,諂媚媚俗,但是卻是極會欺負人的魔鬼,但是內心又是個極懦弱的娃娃。。。!!
當"鬼娃"充斥,社會事件必層出不窮。
所以,端正當今教育的風氣,是多麼的重要!
Tuesday, April 13, 2010
Diet for disease prevention
Some good articles about Diet !
1 Prevention of Dementia: More Omega 3 and 6, Vitamin B12, and E. More nuts and fish...and Social Connections.
http://news.bbc.co.uk/2/hi/health/8615456.stm
2 Prevention of Heart Disease: More Pasta, High fiber cereals, wheat bread; Less white bread, brown sugar, rice, watermelon.
http://health.usnews.com/health-news/diet-fitness/diabetes/articles/2010/04/12/eating-the-wrong-kind-of-carbohydrates-increases-heart-disease-risk.html
1 Prevention of Dementia: More Omega 3 and 6, Vitamin B12, and E. More nuts and fish...and Social Connections.
http://news.bbc.co.uk/2/hi/health/8615456.stm
2 Prevention of Heart Disease: More Pasta, High fiber cereals, wheat bread; Less white bread, brown sugar, rice, watermelon.
http://health.usnews.com/health-news/diet-fitness/diabetes/articles/2010/04/12/eating-the-wrong-kind-of-carbohydrates-increases-heart-disease-risk.html
Sunday, April 11, 2010
Friday, April 9, 2010
Antique 6: Sothebys Auction 4/8/2010, Hong Kong
A VERY IMPORTANT AND MAGNIFICENT IMPERIAL PEARL COURT NECKLACE (CHAO ZHU, 朝珠)
QING DYNASTY, 18TH CENTURY
8,000,000—12,000,000 HKD
Lot Sold. Hammer Price with Buyer's Premium: 67,860,000 HKD
QING DYNASTY, 18TH CENTURY
8,000,000—12,000,000 HKD
Lot Sold. Hammer Price with Buyer's Premium: 67,860,000 HKD
Thursday, April 8, 2010
The Most Beautiful Lake 2 : Lake of Heaven, 西藏天湖
中國第二大鹹水湖,也是世界上最高的鹹水湖。在北緯 30 ° 30'至30 ° 35',東經 90 ° 16'至91 ° 03'之間。海拔四千七百十八米。超過 70公里,從東到西,北至南30多公里。一個面積超過一千九百二十○平方公里。最深深度33米。
納木錯位於西藏自治區當雄縣和班戈,拉薩以北100公里。納木錯湖融水從念青唐古拉山。納木錯,三聖湖,在西藏,在藏語的意思是天湖。羊年的Sagedawa每逢佳節,很多人來此朝聖。
Monday, April 5, 2010
The Halo Effect 3: Summary and Review
The term "Halo effect", refers to the phenomenon that people have tendencies to favor the existing performances of a certain feature, either an item, a company or a person, solely based on the previous high rating of a group or a general impression, rather than individual analysis and personal selection.
Dr. Phil Rosenzweig tried to destroy our usual myth that we usually believe in, such as following golden theories, applying business models and using formula strategies drawn by those once successful companies as our perfect paragons. He demonstrated the myth on the top 19 companies, including Cisco, ABB, IBM, and Lego with excellent growth and profitability in the 90'. These companies had certain vibrant culture, competitive and acquisition strategies; however, they did not sustain high performances in the next 15 years.
If you wish to follow any successful model from any successful cases or textbook models, Dr. Rosenzweig shattered your dream by collecting many failure data in history and quoting Michael Porter's research on "Segments Specific Effects". Porter states that the Specific Segments, including human resource management, customer and supplier bargaining power, corporate culture, and social responsibilities, only contribute 32% of the performance of a company. Nearly 70% of the performance effectiveness depends on other factors.
There is no perfect formula for a strategic leadership, which encounters risks and uncertainties in making various decisions. In the year of 2010, while change is the constant, innovation becomes the most essential element in a corporation.
This is an unusual business book on management which evokes reader's critical thinking as we incline to grasp for formulas in the past trying to escape chronicle mistakes, but resulting in fiasco. -----By Mindancer----
Author's Guide for Managers:
http://www.the-halo-effect.com/book/documents/StudyGuideManagers.pdf
Dr. Phil Rosenzweig tried to destroy our usual myth that we usually believe in, such as following golden theories, applying business models and using formula strategies drawn by those once successful companies as our perfect paragons. He demonstrated the myth on the top 19 companies, including Cisco, ABB, IBM, and Lego with excellent growth and profitability in the 90'. These companies had certain vibrant culture, competitive and acquisition strategies; however, they did not sustain high performances in the next 15 years.
If you wish to follow any successful model from any successful cases or textbook models, Dr. Rosenzweig shattered your dream by collecting many failure data in history and quoting Michael Porter's research on "Segments Specific Effects". Porter states that the Specific Segments, including human resource management, customer and supplier bargaining power, corporate culture, and social responsibilities, only contribute 32% of the performance of a company. Nearly 70% of the performance effectiveness depends on other factors.
There is no perfect formula for a strategic leadership, which encounters risks and uncertainties in making various decisions. In the year of 2010, while change is the constant, innovation becomes the most essential element in a corporation.
This is an unusual business book on management which evokes reader's critical thinking as we incline to grasp for formulas in the past trying to escape chronicle mistakes, but resulting in fiasco. -----By Mindancer----
Author's Guide for Managers:
http://www.the-halo-effect.com/book/documents/StudyGuideManagers.pdf
Thursday, April 1, 2010
金色筆記 26: 淡水夕陽
愛上夕陽落入水裡的聲音,
輕巧巧的,像是落幕的華爾滋;
只愛淡水的夕陽。
他跟我說,有個不老的傳說;
沿著這一道光,
靜靜的,
與心愛的人手牽著手,
慢慢的走...
走在波光粼粼的水上,
我們,
將會走到美麗的
彼岸。
在那兒,
永生永世的相愛。
于"淡水河邊"
Labels:
Love,
photo,
Taipei,
The Other Shore,
time travel,
金色筆記
Sunday, March 28, 2010
Antique 5: 琺瑯彩瓷
圖為故宮博物院藏“清乾隆琺瑯彩雙環瓶”。
瓷胎畫琺瑯,即琺瑯彩瓷,是將畫琺瑯技法移植到瓷胎上的一種釉上彩瓷。琺瑯彩瓷的裝飾工藝,即琺瑯彩,也稱為瓷胎畫琺瑯。
琺瑯彩瓷概述 瓷胎畫琺瑯是琺瑯彩瓷的正式名稱。是專為清代宮廷御用而特製的一種精細彩繪瓷器,部分產品也用於犒賞功臣。據清宮造辦處的文獻檔案記載,其為康熙帝授意之下,由造辦處琺瑯作的匠師將銅胎畫琺瑯之技法成功地移植到瓷胎上而創制的新瓷器品種。琺瑯彩盛于雍正、乾隆年間,屬宮廷壟斷的工藝珍品。所需白瓷胎由景德鎮禦窯廠特製,解運至京後,在清宮造辦處彩繪、彩燒。所需圖式由造辦處如意館擬稿,經皇帝欽定,由宮廷畫家依樣畫到瓷器上。琺瑯彩瓷創燒于康熙晚期,雍正、乾隆時盛行。清代後期仍有少量燒制,但燒造場所已不在清宮中而移至景德鎮。初期琺瑯彩是在胎體未上釉處先作地色,後畫花卉,有花無鳥是一特徵。康熙朝琺瑯彩瓷器多以藍、黃、紫紅、松石綠等色為地,以各色琺瑯料描繪各種花卉紋,其色彩、繪畫、款式皆同於當時的銅胎畫琺瑯。
琺瑯彩瓷的歷史
相傳歷史上在我國江西瓷都附近,曾有一產胡姓人家,世代燒瓷為生。他家的瓷製品因 為精美得到了百姓的歡迎,也就驚動了官府。乾隆南巡時他的臣子將胡姓制瓷獻給皇上,得到皇上大大讚美。大臣想讓胡姓人進宮專為皇上和皇宮制瓷。 因為種種原因姓胡的不願意進宮,於是大臣們在宮裏特設一個窯,按照胡姓人的燒制方法燒制出了精美的琺瑯彩瓷器。為了表宮裏與民間的不同,也為了顯示這種瓷器的出處,有人就將“胡”字拆開,將專為宮中燒的這種琺瑯彩瓷器叫做 “古月軒”。
傳說很有味道,但琺瑯彩瓷器的出現是瓷器發展史上的一個必然產物琺瑯彩瓷器的前就身是景泰藍,也就是所謂的“畫琺瑯”。它興起于明代,是在銅胎上以藍為背景色,掐以 銅絲,再填上紅、黃、藍、綠、白等色釉燒制而成的工藝晶。清代康熙年間這種“畫琺瑯”的方法被用在瓷胎上,其吸取了銅胎畫琺瑯的技法,在瓷質的胎上,用各種琺瑯彩料描繪而成的一種新的釉上彩瓷。雍容華貴的琺瑯彩問世,雖與“康熙盛世”有關,但與雍正的關係更為重要。雍正登基後,對社會進行了一番改革,大大提高了景德鎮制瓷藝人的社會地位。而且雍正酷愛精美絕倫的瓷器,經常對宮廷瓷器加以評價,親自過問,並派得力的官員去管理瓷業生產。康熙、雍正年製作琺瑯彩時,先在景德鎮官窯中選出最好的原料燒製成素胎送至宮廷,由宮廷畫師加彩後在宮中第二次入低溫爐烘烤而成。
琺瑯彩的彩料還有“洋為中用”的成分。五彩和粉彩中都不含的化學成份“硼”琺瑯彩 中有:琺瑯彩中含“砷”;康熙前的瓷器中黃色為氧化鐵,而琺瑯彩中黃色的成分是氧化銻; 琺瑯彩還有用康熙前沒見過的膠體金著色的金紅。上述化學成分分析說明瞭琺瑯彩是國外引 入的,文字上也有記載,宮中原名《瓷胎畫琺瑯》的檔案于乾隆八年改名《瓷胎洋彩》由此可見琺瑯彩確是歐洲進口,由此更可見康熙帝國時中外文化與貿易交往的盛況。
琺瑯彩瓷器從創燒到衰落都只局限于宮廷之中供皇室使用,是“庶民弗得一窺”的御用品。
琺瑯彩瓷的特點
琺瑯彩瓷器沒有大的器物造型,絕大多數是盤、碗、杯、瓶、盒、壺,其中碗、盤最多,只是每一品種都有不同的變化。另外還有一個品種是宜興紫砂陶胎外繪琺瑯料彩,這也是難得一見的。琺瑯彩瓷器在胎質的製作方面是非常講究的。胎壁極薄,均勻規整,結合緊密。在如此的胎質上又施釉極細,釉色極白,釉表光澤沒有桔皮釉、浪蕩釉,更沒有棕眼的現象,確可用“白璧無瑕”來讚譽。
琺瑯彩瓷的特點是瓷質細潤,彩料凝重,色澤鮮艷靚麗,畫工精緻。製作琺瑯彩瓷極度費工,乾隆以後就銷聲匿跡了。康熙的琺瑯彩瓷大多作規矩寫生的西番蓮和纏枝牡丹,有花無鳥,顯得單調。而雍正以花卉圖案居多,山水、人物也有。當時尤為突出的是畫面上配以相呼應的題詩。雍正時這些題詩的書法極佳,並於題詩的引首、句後配有朱文和白文的胭脂水或抹紅印章,其印面文字又往往與畫面及題詩內容相配合,如畫竹的用“彬然”、“君子”章;畫山水的用“山高”、“水長”章;畫梅花的用“先春章等。琺瑯彩瓷器可以說秉承了歷史上中國陶瓷發展以來的各種優點,從拉胚、成型、畫工、用料、施釉、色彩、燒制的技術上幾乎是最精湛的。在乾隆時期出現了很多極其優秀的陶瓷作品,但琺瑯彩在製作程式和用料上是其他眾多品種無法比擬的。畫工也不是一般的窯工,而是皇宮裏面頂尖的專業畫師,所以這些器物可以代表當時最高的藝術水準,最高的工藝水準。
琺瑯彩瓷的繪畫
琺瑯彩瓷的繪畫是其精華所在。琺瑯彩瓷的胎、彩和造型終究逃不過同時期其他彩瓷的影子,而繪畫卻有他獨特酌一面。琺瑯彩的繪畫大多出自宮廷御用紙絹畫的畫稿。據記載,從康熙到乾隆畫供奉紙畫的名畫家眾多,其中最為著名的有:王原祁、蔣廷錫、郎世寧(義大利西洋畫家)、冷梅、唐岱、高其佩、袁江、董邦達、金廷標、李世倬、沈暉、袁瑛、王敬銘、錢維城等等。這些名畫家的畫稿被畫工精心地描繪于琺瑯彩瓷器上,形神兼備,各具不同的風采。
琺瑯彩繪的發展有各自的時代特點。康熙時候的琺瑯彩繪大都倣照銅胎畫琺瑯時的色彩圖案。內容多為纏枝牡丹、纏枝西蕃蓮、纏枝秋葵,也有寫生花卉。構圖上是講究對稱的規矩圖案,花大葉大,內容簡單,缺乏生氣。這時彩色質地的襯托就顯得非常有用,質地有紅、黃、藍、白等各種顏色,但所有色彩和繪畫都在器物外面,內壁潔白。施色勻凈是康熙琺瑯彩的最大特點。
雍正初年時琺瑯彩繪變化不大,構圖仍是呆板的對稱,但寫生畫開始多了起來,有了些活力,背景地仍是胭脂紅、黃、藍、白等色。到了雍正中期,“院畫”的工筆畫在整個社會流行開來,很得雍正皇帝的賞識。琺瑯彩瓷器的畫工們迎合皇帝的好惡,在琺瑯彩瓷器上以 “院畫”為底稿,開始“勾、畫、皺、染”,這也是琺瑯彩瓷器獨有的。繪畫題材多為寓意深刻的芙蓉鴛鴦、靈芝水仙、錦雞牡丹、梅蘭竹菊、翠竹麻雀、秋樹八哥等,更有各種山水樓閣畫面。因為雍正本人喜歡水墨及設色山水,所以這些畫中就有用赫,墨、藍單色或兩種顏色畫的,極為淡雅清麗。“團蝶圖”則是集所有顏色于一身,據說有36種顏色之多。終究是紙絹畫做底稿,這些畫有直接在潔白如雪的瓷器上畫的,有在設色上畫的,但設計都很精巧。此時的器物身上仍多數是裏不畫,有少許裏畫的則外面就被敷上彩色。此時也偶見“錦灰堆”畫法。
來源為“華夏經緯網"
瓷胎畫琺瑯,即琺瑯彩瓷,是將畫琺瑯技法移植到瓷胎上的一種釉上彩瓷。琺瑯彩瓷的裝飾工藝,即琺瑯彩,也稱為瓷胎畫琺瑯。
琺瑯彩瓷概述 瓷胎畫琺瑯是琺瑯彩瓷的正式名稱。是專為清代宮廷御用而特製的一種精細彩繪瓷器,部分產品也用於犒賞功臣。據清宮造辦處的文獻檔案記載,其為康熙帝授意之下,由造辦處琺瑯作的匠師將銅胎畫琺瑯之技法成功地移植到瓷胎上而創制的新瓷器品種。琺瑯彩盛于雍正、乾隆年間,屬宮廷壟斷的工藝珍品。所需白瓷胎由景德鎮禦窯廠特製,解運至京後,在清宮造辦處彩繪、彩燒。所需圖式由造辦處如意館擬稿,經皇帝欽定,由宮廷畫家依樣畫到瓷器上。琺瑯彩瓷創燒于康熙晚期,雍正、乾隆時盛行。清代後期仍有少量燒制,但燒造場所已不在清宮中而移至景德鎮。初期琺瑯彩是在胎體未上釉處先作地色,後畫花卉,有花無鳥是一特徵。康熙朝琺瑯彩瓷器多以藍、黃、紫紅、松石綠等色為地,以各色琺瑯料描繪各種花卉紋,其色彩、繪畫、款式皆同於當時的銅胎畫琺瑯。
琺瑯彩瓷的歷史
相傳歷史上在我國江西瓷都附近,曾有一產胡姓人家,世代燒瓷為生。他家的瓷製品因 為精美得到了百姓的歡迎,也就驚動了官府。乾隆南巡時他的臣子將胡姓制瓷獻給皇上,得到皇上大大讚美。大臣想讓胡姓人進宮專為皇上和皇宮制瓷。 因為種種原因姓胡的不願意進宮,於是大臣們在宮裏特設一個窯,按照胡姓人的燒制方法燒制出了精美的琺瑯彩瓷器。為了表宮裏與民間的不同,也為了顯示這種瓷器的出處,有人就將“胡”字拆開,將專為宮中燒的這種琺瑯彩瓷器叫做 “古月軒”。
傳說很有味道,但琺瑯彩瓷器的出現是瓷器發展史上的一個必然產物琺瑯彩瓷器的前就身是景泰藍,也就是所謂的“畫琺瑯”。它興起于明代,是在銅胎上以藍為背景色,掐以 銅絲,再填上紅、黃、藍、綠、白等色釉燒制而成的工藝晶。清代康熙年間這種“畫琺瑯”的方法被用在瓷胎上,其吸取了銅胎畫琺瑯的技法,在瓷質的胎上,用各種琺瑯彩料描繪而成的一種新的釉上彩瓷。雍容華貴的琺瑯彩問世,雖與“康熙盛世”有關,但與雍正的關係更為重要。雍正登基後,對社會進行了一番改革,大大提高了景德鎮制瓷藝人的社會地位。而且雍正酷愛精美絕倫的瓷器,經常對宮廷瓷器加以評價,親自過問,並派得力的官員去管理瓷業生產。康熙、雍正年製作琺瑯彩時,先在景德鎮官窯中選出最好的原料燒製成素胎送至宮廷,由宮廷畫師加彩後在宮中第二次入低溫爐烘烤而成。
琺瑯彩的彩料還有“洋為中用”的成分。五彩和粉彩中都不含的化學成份“硼”琺瑯彩 中有:琺瑯彩中含“砷”;康熙前的瓷器中黃色為氧化鐵,而琺瑯彩中黃色的成分是氧化銻; 琺瑯彩還有用康熙前沒見過的膠體金著色的金紅。上述化學成分分析說明瞭琺瑯彩是國外引 入的,文字上也有記載,宮中原名《瓷胎畫琺瑯》的檔案于乾隆八年改名《瓷胎洋彩》由此可見琺瑯彩確是歐洲進口,由此更可見康熙帝國時中外文化與貿易交往的盛況。
琺瑯彩瓷器從創燒到衰落都只局限于宮廷之中供皇室使用,是“庶民弗得一窺”的御用品。
琺瑯彩瓷的特點
琺瑯彩瓷器沒有大的器物造型,絕大多數是盤、碗、杯、瓶、盒、壺,其中碗、盤最多,只是每一品種都有不同的變化。另外還有一個品種是宜興紫砂陶胎外繪琺瑯料彩,這也是難得一見的。琺瑯彩瓷器在胎質的製作方面是非常講究的。胎壁極薄,均勻規整,結合緊密。在如此的胎質上又施釉極細,釉色極白,釉表光澤沒有桔皮釉、浪蕩釉,更沒有棕眼的現象,確可用“白璧無瑕”來讚譽。
琺瑯彩瓷的特點是瓷質細潤,彩料凝重,色澤鮮艷靚麗,畫工精緻。製作琺瑯彩瓷極度費工,乾隆以後就銷聲匿跡了。康熙的琺瑯彩瓷大多作規矩寫生的西番蓮和纏枝牡丹,有花無鳥,顯得單調。而雍正以花卉圖案居多,山水、人物也有。當時尤為突出的是畫面上配以相呼應的題詩。雍正時這些題詩的書法極佳,並於題詩的引首、句後配有朱文和白文的胭脂水或抹紅印章,其印面文字又往往與畫面及題詩內容相配合,如畫竹的用“彬然”、“君子”章;畫山水的用“山高”、“水長”章;畫梅花的用“先春章等。琺瑯彩瓷器可以說秉承了歷史上中國陶瓷發展以來的各種優點,從拉胚、成型、畫工、用料、施釉、色彩、燒制的技術上幾乎是最精湛的。在乾隆時期出現了很多極其優秀的陶瓷作品,但琺瑯彩在製作程式和用料上是其他眾多品種無法比擬的。畫工也不是一般的窯工,而是皇宮裏面頂尖的專業畫師,所以這些器物可以代表當時最高的藝術水準,最高的工藝水準。
琺瑯彩瓷的繪畫
琺瑯彩瓷的繪畫是其精華所在。琺瑯彩瓷的胎、彩和造型終究逃不過同時期其他彩瓷的影子,而繪畫卻有他獨特酌一面。琺瑯彩的繪畫大多出自宮廷御用紙絹畫的畫稿。據記載,從康熙到乾隆畫供奉紙畫的名畫家眾多,其中最為著名的有:王原祁、蔣廷錫、郎世寧(義大利西洋畫家)、冷梅、唐岱、高其佩、袁江、董邦達、金廷標、李世倬、沈暉、袁瑛、王敬銘、錢維城等等。這些名畫家的畫稿被畫工精心地描繪于琺瑯彩瓷器上,形神兼備,各具不同的風采。
琺瑯彩繪的發展有各自的時代特點。康熙時候的琺瑯彩繪大都倣照銅胎畫琺瑯時的色彩圖案。內容多為纏枝牡丹、纏枝西蕃蓮、纏枝秋葵,也有寫生花卉。構圖上是講究對稱的規矩圖案,花大葉大,內容簡單,缺乏生氣。這時彩色質地的襯托就顯得非常有用,質地有紅、黃、藍、白等各種顏色,但所有色彩和繪畫都在器物外面,內壁潔白。施色勻凈是康熙琺瑯彩的最大特點。
雍正初年時琺瑯彩繪變化不大,構圖仍是呆板的對稱,但寫生畫開始多了起來,有了些活力,背景地仍是胭脂紅、黃、藍、白等色。到了雍正中期,“院畫”的工筆畫在整個社會流行開來,很得雍正皇帝的賞識。琺瑯彩瓷器的畫工們迎合皇帝的好惡,在琺瑯彩瓷器上以 “院畫”為底稿,開始“勾、畫、皺、染”,這也是琺瑯彩瓷器獨有的。繪畫題材多為寓意深刻的芙蓉鴛鴦、靈芝水仙、錦雞牡丹、梅蘭竹菊、翠竹麻雀、秋樹八哥等,更有各種山水樓閣畫面。因為雍正本人喜歡水墨及設色山水,所以這些畫中就有用赫,墨、藍單色或兩種顏色畫的,極為淡雅清麗。“團蝶圖”則是集所有顏色于一身,據說有36種顏色之多。終究是紙絹畫做底稿,這些畫有直接在潔白如雪的瓷器上畫的,有在設色上畫的,但設計都很精巧。此時的器物身上仍多數是裏不畫,有少許裏畫的則外面就被敷上彩色。此時也偶見“錦灰堆”畫法。
來源為“華夏經緯網"
金色筆記 25: It was the season of Light, it was the season of Darkness。
Photo by W. S.
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way— in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.
---Charles Dickens
Thursday, March 25, 2010
Tuesday, March 23, 2010
金色筆記 23 : Visiting Old Relatives
That was an ordinary day in spring of Taipei, flourished with people's aspiration for a brighten future, and yet with disappointment for vapidness. An immense inextricably thought replenish my mind, after I visited my old uncle and auntie that afternoon.
Both of them need wheelchair and care taker for daily living, 86, waiting for death's calling, as we would wait in the hospital waiting room watching the flashing light calling our numbers....; however, death may not call for them as he may call upon any of us at any moment. They used to travel all over the world, visiting friends and paying kindness to them. But, no one should escape death, no matter how wealthy, successful, and kind.
In their house, I can hear the foot steps of death's approaching; I can smell the stagnant and rotten air; I can touch the roughness of uncle's despondency on the couch sofa; I can see the involuntary movement of aunty's mouth, expressing her helpless. I feel the rolling of fate ; I feel our need for my inevitable surrender to the universal cycle.
Sad and Speechless.
While there is a light directing us for an immortal stage, as I suddenly recalled there is a way to obtain my immortal consciousness, I then feel the warmth and security inward....
Both of them need wheelchair and care taker for daily living, 86, waiting for death's calling, as we would wait in the hospital waiting room watching the flashing light calling our numbers....; however, death may not call for them as he may call upon any of us at any moment. They used to travel all over the world, visiting friends and paying kindness to them. But, no one should escape death, no matter how wealthy, successful, and kind.
In their house, I can hear the foot steps of death's approaching; I can smell the stagnant and rotten air; I can touch the roughness of uncle's despondency on the couch sofa; I can see the involuntary movement of aunty's mouth, expressing her helpless. I feel the rolling of fate ; I feel our need for my inevitable surrender to the universal cycle.
Sad and Speechless.
While there is a light directing us for an immortal stage, as I suddenly recalled there is a way to obtain my immortal consciousness, I then feel the warmth and security inward....
Monday, March 22, 2010
"The Halo Effect" 1 : Phil Rosenzweig
ABOUT THE AUTHOR
Phil Rosenzweig is a Professor at IMD, the International Institute for Management Development, in Lausanne, Switzerland, where he works with leading companies on questions of strategy and organization.
A native of the San Francisco Bay Area, Phil studied economics at the University of California, Santa Barbara, and earned an MBA at UCLA. In 1980 he joined Hewlett-Packard, where he worked for six years in a variety of finance and marketing functions. As a marketing manager for HP’s leasing unit, he developed financing options for corporate customers, and was also responsible for training leasing specialists at sales offices across the United States.
In 1986, Phil began his studies at the Wharton School of the University of Pennsylvania, receiving his Ph.D. in 1990. From 1990 to 1996, he was on the faculty of Harvard Business School, teaching business policy in the MBA program. In 1996, Phil and his family moved to Europe, where he joined the faculty at IMD. Currently, he directs and teaches in executive development programs for leading companies.
In addition to his work at IMD, Phil works directly with companies as a teacher, facilitator, and speaker. He has taught extensively in executive programs around the world, including the Unites States, South America, the United Arab Emirates, Malaysia, Japan, as well as throughout Europe
Phil Rosenzweig is a Professor at IMD, the International Institute for Management Development, in Lausanne, Switzerland, where he works with leading companies on questions of strategy and organization.
A native of the San Francisco Bay Area, Phil studied economics at the University of California, Santa Barbara, and earned an MBA at UCLA. In 1980 he joined Hewlett-Packard, where he worked for six years in a variety of finance and marketing functions. As a marketing manager for HP’s leasing unit, he developed financing options for corporate customers, and was also responsible for training leasing specialists at sales offices across the United States.
In 1986, Phil began his studies at the Wharton School of the University of Pennsylvania, receiving his Ph.D. in 1990. From 1990 to 1996, he was on the faculty of Harvard Business School, teaching business policy in the MBA program. In 1996, Phil and his family moved to Europe, where he joined the faculty at IMD. Currently, he directs and teaches in executive development programs for leading companies.
In addition to his work at IMD, Phil works directly with companies as a teacher, facilitator, and speaker. He has taught extensively in executive programs around the world, including the Unites States, South America, the United Arab Emirates, Malaysia, Japan, as well as throughout Europe
Sunday, March 21, 2010
大江大海,1949 之二 : 靈魂在戰爭裡沉睡
大時代的浩劫,1949 只不過是個普通的年份 ! 在其他的年份哩,也許死了更多的人,改變了人類的生活方式....
但是,1949, 多少人,在中國大陸的一角,這一別,將是半個世紀的分離,將是永世訣別 。
我們這一代,聽著長輩們不厭其煩的述說著當年的慘烈故事,不論是,台灣子女聆聽著228,或是,外省子女背誦著父輩國共相殘之戰;我們曾經都是用一種偏頗的眼界,仇恨的心情,看待著這段歷史。如今,在龍應台搧情的筆下,公平的讓大家再一次經歷當年的事實。
我們看到的是,人性最原始的一面,戰爭之下,人為了生存表現在外的自私與自保。 無論,你是國軍,共軍,台灣兵,日軍,德軍,俄軍,美軍,大家都做過同樣殘忍的事,殘殺同胞百姓。人們在集體的衝擊,利益的衝突下,通常慈悲心是不存在的,這種不信任感,使的戰爭讓人恐懼進而兇殘。
驟然淚下! 此時人的靈魂,必然是被埋在海底休眠,躲在黑暗裡哭泣。
戰爭是那些擁有權勢的人,利用小百姓痴愚的爭奪手段,葬送的卻是千百萬的血淚身軀。到底,何謂國家意義? 為的是保存語言文化? 還是爭奪財富權力? 那麼保護"民族"的生存便罷。
現代的青少年,懷疑,豈有民族概念?
慶幸的是,1949 只停留在記憶哩,一甲子過去了,一切的悲憤,傷痛,都有如江河,彭湃洶湧的流入大海哩。大海的水,寬闊平靜,包容著所有的心酸眼淚。
如今,人們試想尋找的,不再是報復對岸的仇敵,不再是令人失望的70 軍, 而是尋找別離了一甲子的親人愛人。似乎,在一切都沉澱之後,人類的靈魂再度甦醒,原本的真情重現。 ----by Mindancer
但是,1949, 多少人,在中國大陸的一角,這一別,將是半個世紀的分離,將是永世訣別 。
我們這一代,聽著長輩們不厭其煩的述說著當年的慘烈故事,不論是,台灣子女聆聽著228,或是,外省子女背誦著父輩國共相殘之戰;我們曾經都是用一種偏頗的眼界,仇恨的心情,看待著這段歷史。如今,在龍應台搧情的筆下,公平的讓大家再一次經歷當年的事實。
我們看到的是,人性最原始的一面,戰爭之下,人為了生存表現在外的自私與自保。 無論,你是國軍,共軍,台灣兵,日軍,德軍,俄軍,美軍,大家都做過同樣殘忍的事,殘殺同胞百姓。人們在集體的衝擊,利益的衝突下,通常慈悲心是不存在的,這種不信任感,使的戰爭讓人恐懼進而兇殘。
驟然淚下! 此時人的靈魂,必然是被埋在海底休眠,躲在黑暗裡哭泣。
戰爭是那些擁有權勢的人,利用小百姓痴愚的爭奪手段,葬送的卻是千百萬的血淚身軀。到底,何謂國家意義? 為的是保存語言文化? 還是爭奪財富權力? 那麼保護"民族"的生存便罷。
現代的青少年,懷疑,豈有民族概念?
慶幸的是,1949 只停留在記憶哩,一甲子過去了,一切的悲憤,傷痛,都有如江河,彭湃洶湧的流入大海哩。大海的水,寬闊平靜,包容著所有的心酸眼淚。
如今,人們試想尋找的,不再是報復對岸的仇敵,不再是令人失望的70 軍, 而是尋找別離了一甲子的親人愛人。似乎,在一切都沉澱之後,人類的靈魂再度甦醒,原本的真情重現。 ----by Mindancer
Wednesday, March 17, 2010
大江大海,1949 之ㄧ : 龍應台演講
Time: 2009 ,Sep 9 , 18
Place: Hong Kong University ; Taipei
Speaker: 龍應台
Subject: "大江大海,1949"
1. http://uradio.cybercampus.hku.hk/player.php?1=1&programid=256
2. http://www.cw.com.tw/book/1949/video.jsp
Place: Hong Kong University ; Taipei
Speaker: 龍應台
Subject: "大江大海,1949"
1. http://uradio.cybercampus.hku.hk/player.php?1=1&programid=256
2. http://www.cw.com.tw/book/1949/video.jsp
Tuesday, March 16, 2010
Cool Paintings in Action!
Can you recognize these famous paintings in this MV?
http://www.youtube.com/watch?v=rtPxlr6LDN0&feature=related
1. The Last Supper (Leonardo da Vinci)
2. The Birth of Venus ( Sandro Botticelli)
3. The Anatomy Lesson of Dr. Nicolaes Tulp (Rembrandt)
4a .Portait of Henry VIII (Holbein) and
4b. Girl with a Pearl Earring (Johannes Vermeer)
5. The Raft of the Medusa (Theodore Gericault)
6. The Death of Marat (David)
7. The Creation of Adam (Michelangelo)
8. The Son of Man (René Magritte)
9. Composition with Black, Red, Yellow and Blue (Piet Mondrian)
10.Frida Kahlo Self-Portrait
11.? Portrait of Dora Maar Seated (Pablo Picasso)
12. The Scream (Edvard Munch)
13. Self Portrait with Bandaged Ear (Vincent van Gogh)
14. Marilyn Monroe (Warhol)
15. Gabrielle d'Estrées (right) with his sister, Princess de Villiers (School of Fontainbleaux)
16. Santa Trinita Madonna (Cimabue)
17. The Beheading of Saint John the Baptist (Caravaggio)
18. Olympia (Eduard Manet)- but without shoes
19. Liberty Leading the People (Delacroix)
20. Portrait of the Journalist Sylvia von Harden (Otto Dix)
21. mix : ''The Kiss''and "Virgin'' (Klimt)
22. La Mariee/The Bride (Marc Chagall)
23. Las Meninas (Velasquez)
24. Sunflowers (Van Gogh)
http://www.youtube.com/watch?v=rtPxlr6LDN0&feature=related
1. The Last Supper (Leonardo da Vinci)
2. The Birth of Venus ( Sandro Botticelli)
3. The Anatomy Lesson of Dr. Nicolaes Tulp (Rembrandt)
4a .Portait of Henry VIII (Holbein) and
4b. Girl with a Pearl Earring (Johannes Vermeer)
5. The Raft of the Medusa (Theodore Gericault)
6. The Death of Marat (David)
7. The Creation of Adam (Michelangelo)
8. The Son of Man (René Magritte)
9. Composition with Black, Red, Yellow and Blue (Piet Mondrian)
10.Frida Kahlo Self-Portrait
11.? Portrait of Dora Maar Seated (Pablo Picasso)
12. The Scream (Edvard Munch)
13. Self Portrait with Bandaged Ear (Vincent van Gogh)
14. Marilyn Monroe (Warhol)
15. Gabrielle d'Estrées (right) with his sister, Princess de Villiers (School of Fontainbleaux)
16. Santa Trinita Madonna (Cimabue)
17. The Beheading of Saint John the Baptist (Caravaggio)
18. Olympia (Eduard Manet)- but without shoes
19. Liberty Leading the People (Delacroix)
20. Portrait of the Journalist Sylvia von Harden (Otto Dix)
21. mix : ''The Kiss''and "Virgin'' (Klimt)
22. La Mariee/The Bride (Marc Chagall)
23. Las Meninas (Velasquez)
24. Sunflowers (Van Gogh)
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