Lang Shining was a well-reputed Italian painter among the missionaries who came to China in the early Qing Dynasty. He worshipped the Qing Dynasty for 51 years and spent the three dynasties of Kangxi, Yongzheng and Qianlong. He painted hundreds of palaces, and many Chinese painters influenced by him.

Because he was good at painting Western style, Emperor Qianlong later forced him to paint with Chinese brushes. Therefore, his characters, flowers, feathers and landscape works were very well combined with Chinese and Western style, refreshing the Qing Dynasty's palace paintings and had a high status in the history of Qing Dynasty painting.

This "Turkey Picture" is a silk-colored pattern with a very large size, about 1 meter in length and about 1.8 meters in width. On the upper right side of the painting, there is a poem "Turkey Poem" written by Emperor Qianlong, the Grand Secretary of Wenhua Hall, written by Yu Minzhong, with the signature: "Min Yu Minzhong's letter of honor". The stamp is: "Minminzhong's seal" and two private seals of red text in "Article to serve the country".

There is a Jin Tingbiao regular script title in the lower right corner of the picture: "Jin Tingbiao Gongpa" and a private seal in white text stamped with: "Tingbiao" is stamped.

The center of the picture of this painting is depicted with a turkey standing on the stone. The head of the chicken turns to the right side of the painting, with bright eyes, sharp beak, and clutched the stone tightly.

On the right side of the picture is a curved and coiled green pine tree with mottled bark and vigorous pine branches on it. The needle leaves are also freehand, and both have good shape and style.

The lower left corner of the painting is painted with a turkey twisting his head and pecking his feathers, like looking at the turbulent stream among the rocks. The upper part of the turkey is painted with brown-purple Ganoderma lucidum, and the lower right corner is painted with white peonies. There are several small flowers around it.

The whole work is made of turkey, Ganoderma lucidum, and peony. The stone pen is a traditional ink-wash look. The turkey is accurate in shape, realistic and realistic, feathers, pecks, and claws are textured. It uses Western realistic techniques such as perspective, light and dark, and layering to express it.

Peony is elegant and luxurious, with vivid colors and charming. The picture background is elegant, turkey and peony are exquisitely crafted and realistic, and the combination of the colors and tones is harmonious and unified. This is undoubtedly a masterpiece that combines Chinese and Western styles.

In addition to being recorded in "A summary of archives of the Ministry of Interior of the Qing Dynasty", this "Turkey Picture" was also published in the 33rd episode of "Collection of Famous Chinese Paintings" in the 18th year of the Republic of China (1929), and the 31st volume of "Hushe Monthly" in the 20th year of the Republic of China (1931).

The "Turkey Picture" co-authored by Lang Shining and Jin Tingbiao is well recorded and inherited in an orderly manner. It is definitely a fine work among Qing Dynasty paintings.

Xiao Yao admires the techniques and colors of this painting very much.

In terms of technique: The hairy lines are neatly arranged, short and fine lines on the hook, similar to Western sketch lines. This line is based on the changes of light. The ink lines are lighter at the backlight, and the ink lines are thicker at the backlight. The lines lead to the surface and render them with color (ocher, cyanine), forming this artistic effect of expressing feathers.

The lines on the neck of "Turkey Picture" are short and thin, and they are all hooked down clockwise, with titanium dioxide as highlights in the middle, and then rendering them. The color rendering is made of cyan, green head, two green, titanium dioxide, etc.

These rich color rendering techniques, realistic and realistic, accurate modeling ability, and fine and neatly arranged line techniques are important basis for judging the artistic level of a Western painter. Among the painters of Ruyi Pavilion in the early to mid-Qianlong period, except Lang Shining, other painters did not have such superb Western painting standards.

In terms of color: The "Turkey Picture" is very rich in the use of pigments. Among the seemingly unified tones, there are more than twenty kinds of pigments used, and many of them are between blue and blue, such as cyan, head green, ochre, magenta alum white on the feathers; cyan, head green, two green, alum white are used on the neck; red dart, magenta, alum white are used in the first part; gamboge, alum white are used in the pecking part; brown red, ochre, magenta, and titanium white are used in the claws.

Detailed descriptions: white space around the eyelids, highlighting the eyeballs, rendering of the color of the eye sockets (red darts, magenta, alum white), the posture and lines of the claws are all very skillful.

Xiao Yao liked this painting very much and carefully appreciated it. Then he loved it and put it back on the ancient shelf, and then picked up another painting to view it.

This painting is also a work by Lang Shining, which is actually a relatively rare "Portrait of Qianlong".

This painting has delicate facial portrayals and obvious traces of European painting. It is a work created by Lang Shining independently in the early Qianlong period.

Lang Shining's works in the early Qianlong period were written by Lang Shining because the painter was young and powerful, and the depiction of the faces of the characters was more detailed, and all the paintings were completed by Lang Shining alone.

Considering that this painting was independently completed by Lang Shining and also a portrait of Qianlong, the price should be around 170 million yuan. The "Turkey Picture" was completed by Lang Shining and Jin Tingbiao. Although the size is larger, its value is lower. His estimate is about 80 million yuan.

The third scroll opened by Xiao Yao is still Lang Shining's work, and it is his fine painting "The Eight Horses".

There are many works by Lang Shining on horses, but this picture is definitely a fine work among similar themes.

In terms of painting skills, Lang Shining created a novel painting method that is different from traditional painting. He used Chinese brushes, paper, silk and colors, but he could use European painting methods to focus on expressing the anatomical structure, volume and texture of fur, making the horse's image shape accurate, appropriate proportions, and three-dimensional, unlike the ancient Chinese painters who used continuous and vigorous lines to outline the outline of the object.

He used fine short lines and sketched drawing methods to describe the appearance of the horse, the wrinkles of the fur, the protruding blood vessels and tendons under the fur, or the depth of the color was used to express the concave and convex muscles of the horse, which was very different from the image of the horse in traditional Chinese paintings.

In the palace more than 200 years ago, this unique painting method was loved by the emperor and thus influenced the painting style of some Chinese court painters. This method of painting horses that combines Chinese and Western styles has many successors to this day.

Xiao Yao estimated that although the price of this work was not as good as "Portrait of Qianlong", the price would definitely not be less than 100 million yuan.

All the pieces on this lattice of the Bogu Shelf are Lang Shining's works, but the other works are not considered high-quality works, with prices ranging from 5 million to 20 million.

Xiao Yao just took a simple look and then let it go.

The works placed in the first grid gave him a huge surprise. The works placed in the next grid did not disappoint him, and they were all works by Xu Beihong.
Chapter completed!