贺天健先生是我国现代传统功力相当深厚的著名画家,尤以山水画著称于世。贺先生传世作品不多,据朱浩云同志粗略估计存世约一千多件。贺先生去世以后,三百余件遗作捐给上海国画院,故能进入市场的,与同辈有成就画家相比,为数并不很多。但当前的市场行情,以贺先生的艺术成就,其价位则偏低,朱浩云认为“后市尚有较大的潜力”,这种预测和对市场行情的分析,是值得收藏家们所重视的。中国艺术研究院美术研究所近几年培养的博士、硕士研究生的学位论文课题,不少人是闯进了美术史研究中几十年没人开拓的新领域,鲜明地提出了自己的见解,毫不含糊地给出一个个新的定位。作为美研所的一个老同志,我读了2001届美术学博士研究生赵权利同志的《秦汉绘画材料、工具的新创造与形态的奠定》,感到十分欣喜。此文节选自他的博士学位论文《中国古代绘画技法、材料、工具史纲》中第二章“秦汉绘画技法、材料、工具的迁延与新创造”。文章以翔实的史料为依据,记述了秦汉时期绘画材料、工具取得突破性发展的基本状况;作者并明确指出后世中国画材料和工具,基本沿袭秦汉时期确立的形态完善和发展。赵权利的全文将出版问世,读了他的书,读者也许会为他提出不少新的见解而折服。 He Tianjian is a well-known painter with a rather profound modern tradition in our country. His painting is especially famous in the world. Mr. He handed down works is not much, according to Comrade Zhu Haoyun roughly estimated to save more than a thousand pieces. After Mr. He died, more than 300 pieces were donated to the Shanghai Traditional Chinese Painting Institute. Therefore, there are not many people who can enter the market as compared with accomplished painters of the same generation. However, the current market conditions are based on Mr. He’s artistic accomplishments and his prices are low. Zhu Haoyun believes that “there is still a great potential for the market outlook.” Such forecasts and analysis of market conditions deserve the attention of collectors. Chinese Academy of Arts Institute of Fine Arts in recent years to cultivate the doctorate or master’s degree dissertation topics, many people broke into the history of art history for decades without the development of new areas, clearly put forward their own opinions, Unambiguously given a new position. As an old comrade of the United States Institute, I was very pleased to read Comrade Zhao Quanli’s “Creation of the Qin and Han Painting Materials and Tools and Establishment of the Form” of the 2001 Ph.D. This article is selected from his doctoral dissertation, “Ancient Chinese Painting Techniques, Materials, Tools History” in the second chapter “Qin and Han painting techniques, materials and tools of the extension and new creation.” Based on detailed historical materials, the article describes the basic situation of breakthrough development of painting materials and tools in the Qin and Han dynasties. The author also clearly points out that the later Chinese painting materials and tools basically follow the perfect and development of the forms established in the Qin and Han dynasties. The full text of Zhao Quanli will be published and his book will be read. Readers may be convinced by his new ideas.