5. 南板风格的写字台 江户时代，19世纪 高清作品[87%]

Edo period , 19th century

图片文件尺寸 : 5028 x 4284px

A NANBAN-STYLE BUNDAI (WRITING TABLE):Edo period (1615-1868), 19th century
The rectangular writing surface set on a raised dais pierced on all sides supported by a flaring scalloped apron on four cabriole feet, the whole decorated in gold hiramaki-e, kinpun, and mother-of-pearl inlays on a dark brown lacquer ground, the upper surface with a fanciful design of pavilions and a pagoda by the shore with rocks and chickens among camellia, pine, and wisteria, framed by two borders, one a modification of the traditional shippo motif with a four-petaled flower in the center, and the other a floral checkerboard, the raised edge with the same shippo design but on a smaller scale than the top surface, the sides and legs decorated with butterflies and birds in wisteria and stands of two types of camellia and Chinese bellflowers

14 x 23 3/4 x 7 1/4in (35.5 x 60.3 x 18.4cm)

南板风格的写字台 江户时代，19世纪

下载南板风格的写字台 江户时代，19世纪大图

6. 伊田昭一。《表面介于垂直和水平之间——下降的蓝色》第4期。1982年，1983年出版 高清作品[87%]

Shoichi Ida. <em>Surface</em> is the Between, Between Vertical and Horizon Descended Blue No. 4. 1982, published 1983- plate: 19 13/16 x 17 3/4 (50.3 x 45.1 cm); sheet: 29 15/16 x 22 1/2 (76 x 57.1 cm)

Shoichi Ida. Surface is the Between, Between Vertical and Horizon - Descended Blue No. 4. 1982, published 1983

伊田昭一。《表面是介于垂直和水平之间的蓝色》第4期。1982年，1983年出版-

下载伊田昭一。《表面介于垂直和水平之间——下降的蓝色》第4期。1982年，1983年出版大图

7. 伊田昭一。《表面介于垂直和水平之间——下降的蓝色》第5期。1982年，1983年出版 高清作品[87%]

Shoichi Ida. <em>Surface</em> is the Between, Between Vertical and Horizon Descended Blue No. 5. 1982, published 1983- plate: 17 7/8 x 15 7/8 (45.4 x 40.3 cm); sheet: 29 15/16 x 22 3/8 (76 x 56.8 cm)

Shoichi Ida. Surface is the Between, Between Vertical and Horizon - Descended Blue No. 5. 1982, published 1983

伊田昭一。《表面是介于垂直和水平之间的下降蓝色》第5期。1982年，1983年出版-

下载伊田昭一。《表面介于垂直和水平之间——下降的蓝色》第5期。1982年，1983年出版大图

10. 一个大的可曼（佛教挂饰） 江户时期，18/19世纪 高清作品[76%]

Edo period , 18th/19th century

图片文件尺寸 : 4551 x 5680px

A LARGE KEMAN (BUDDHIST PENDANT ORNAMENT):Edo period (1615-1868), 18th/19th century
Of rounded-rectangular form in gilt metal with mineral pigment on the surface with carved in openwork of lotus blossoms and leaves arising from swirling waters, a cord knotted in the center with a central blossom floret and two pendant loops, the surface engraved with details, the hanger and bracket with scrolling vines and a nanako ground, fitted with hanging garland strands of blossoms, colored beads, and bells of various shapes, inscribed next to the cords and on the reverse with the names of the parishioners who made the offering
With a wood tomobako storage box
42 1/2 x 15 1/8in (108 x 38.4cm), including garlands

一个大的可曼（佛教挂饰） 江户时期，18/19世纪

下载一个大的可曼（佛教挂饰） 江户时期，18/19世纪大图

12. 赫尔穆特·费德勒，当代艺术I 高清作品[74%]

DO-Helmut Federle - 现代艺术 I
图片文件像素：6336 x 4556 px

赫尔穆特·费德勒，当代艺术I-

Helmut Federle * - Zeitgenössische Kunst I-

(born in Solothurn in 1944; lives and works in Vienna and Camaiore)
Null Bild Serie, 2. Phase, Tafel A, 1993, on the reverse titled, signed, dated Federle 93, acrylic on aluminum, 70 x 100 cm

Provenance:
Galerie nächst St. Stephan, Vienna
Private collection, Austria
Private collection, France

Exhibited/Literature:
Galerie nächst St. Stephan, Vienna, 1993
Kunstmuseum Bonn, 12 October 1995 – 21 January 1996, Düsseldorf 1995, p. 82/83, exhib. cat. with color illustration on p. 83

The 瑞士 artist Helmut Federle currently lives and works in Vienna. At the end of the 1950s, he began to create geometric-abstract works based on a minimalist, reduced surface design. A decade later, his work is definitively characterised by a strictly geometric formal language. His works show geometric forms and their position and balance in the pictorial plane. The artist himself does not see his work as belonging to any category, but above all as a spiritual search for meaning.

In the aluminium work of the ‘Null Bild’ Series, 2nd Phase, Panel A from 1993, the artist harks back to his paintings of the late 1970s, not least through its dimensions. Federle anchors \"upright or transverse rectangular anthracite-coloured fields to the opposite corners of the picture, with a dark grey surface acting as a foil.\" (Kunstmuseum Bonn, Bonn, 12 October 1995 - 21 January 1996, Düsseldorf 1995, p. 82). Panel A shows a reclining, resting light grey surface in the lower right corner of the picture against a charcoal grey, darker background.

\"In the Null-Bild works, the preoccupation with the Black Series is resonant, with the difference that processual events are once again concentrated on the individual image.\" (Ibid.)

下载赫尔穆特·费德勒，当代艺术I大图

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