蒋廷锡(1669年—1732年),字酉君、杨孙,号南沙、西谷,又号青桐居士。清朝前期政治人物、画家。汉族,江苏常熟人。康熙四十二年(1703年)进士,雍正年间曾任礼部侍郎、户部尚书、文华殿大学士、太子太傅等职,是清朝重要的宫廷画家之一。雍正六年(1728年)拜文华殿大学士,仍兼理户部事。次年加太子太傅。雍正十年(1732年)卒于任内。谥文肃。
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中国清代画家。擅长花鸟,以逸笔写生,奇正率工,敷色晕墨,兼有一幅,能自然洽和,风神生动,得恽寿平韵味。点缀坡石,偶作兰竹,亦具雅致。曾画过《塞外花卉》70种,被视为珍宝收藏於宫廷。康熙六十一年(1722年)康熙逝世,雍正(1723)下令经延讲官、户部尚书蒋廷锡(1669—1732)重新编校《古今图书集成》。蒋廷锡把陈梦雷的名字涂掉,写上自己的名字,他重编的《古今图书集成·医部》共收医书520卷,采集历代名医著作,为中医学类书之冠。著《青桐轩秋风》、《片云诸集》。卒年六十四。康熙五十七年(1718)作《牡丹扇面》,康熙五十九年(1720)作《岁岁久安图》、《桃花鹦鹉图》。传世作品有《竹石图》轴,现藏中国美术馆;《花卉图》卷,现藏南京博物院。
清文献学家、藏书家。康熙四十二年(1703)进士,授翰林院编修,历官礼部侍郎、户部尚书、文华殿大学士。在任秉公抚政、剔除积弊,声誉甚著,博学精敏,尤善诗画。所作写生花卉及兰竹小品,色墨并施,自成一格。常侍御前作画,被藏入秘阁。因名重于时,代笔及作伪者甚多。曾任《明史》总裁及《佩文韵府》、《康熙字典》、《古今图书集成》等典籍总纂官,为保存和整理我国古代文献付出了毕生精力。为官之外,特喜收藏文献,藏庋古籍万余册,藏书处有“青铜轩”,藏书印有“蒋扬孙考藏记”、“蒋氏家藏图书印”等。著有《尚书地理今释》、《破山集》、《秋风集》、《青铜轩诗集》等。
《竹石图》轴--康熙四十年(1701年)作,藏中国美术馆
《花卉图》卷--康熙四十七年(1708年)作,藏南京博物院;
《野菊图》--康熙四十四年(1705年)作
《四瑞庆登图》轴--雍正元年(1723年)作。
《张照肖像》--雍正四年(1726年)焦秉贞作轴,廷锡补景,藏北京故宫博物院。
诗集:《青桐轩秋风集》《片云集》
著名的花鸟画家
蒋廷锡是清朝康熙、雍正年间著名的花鸟画家,清初恽寿平在花鸟画坛起衰之后,蒋廷锡学其没骨画技,变其纤丽之风,开创了根植江南、倾动京城的“蒋派”花鸟画。
出生于官宦世家
然而作为名父之子,出生于官宦世家的蒋廷锡并不仅仅是一位著名的画家,他同时也是一个通晓为官之道、体恤民情的封建官吏,一个博古通今的学者,一个颇有才华的诗人。蒋廷锡为康熙四十二年进士,雍正年间曾任礼部侍郎、户部尚书、文华殿大学士、太子太傅等职,从编修、讲官等文职,屡次升迁,成为雍正时期位尊权重的名臣。他六十岁的时候不但身任文华殿大学士之职,还加太子太傅、身兼户部事,并任《明史》总裁,足见朝廷对他的看重。清世宗曾命他将陈梦雷原辑的《古今图书集成》重辑,各门各类洋洋大观,展现了他广博而深远的学力。同时在诗坛上,他是宋荦所称赏的江左十五才子之一,被长一辈诗人钱陆灿称为“机杼于子美而纵横出入于香山、东坡、山阴之间”,是“无所不学焉,无所不舍焉”能够“崭然自成”,“善学”而“早悟”的后起之秀。
现存他的诗集
现存他的诗集包括《青桐轩诗集》六卷、《片云集》一卷、《西山爽气集》三卷、《破山集》一卷和《秋风集》一卷等。其中有投赠诗、题画诗、送别诗、纪游诗、闲情诗、怀古诗等各种题材,读之能够看到蒋廷锡对于自然人情的认识以及在此基础上对人生的感悟。
多重身份
官吏、学者、诗人、画家,蒋廷锡的多重身份是中国封建社会文人画家有着广泛而深厚的修养并积极入世的一个典型例子,蒋廷锡被称为士夫画家或者文人画家是非常合适的。但是很少人将蒋廷锡的绘画跟文人画联系在一起,误以为他是宫廷画家的倒大有人在。因为他的确有供御的作品,署“臣”款的绘画即是。这些画一般题材高雅、寓意祥瑞、幅面大并且风格富丽堂皇,若从风格来论,很少为文人画家涉足,的确像是宫廷画家所为,这是蒋廷锡为人所熟悉的面貌。但是我们应该看到,蒋廷锡的绘画特征较为复杂。在众多的评论中,清朝张庚对他的评价比较全面:“以逸笔写生,或奇或正、或率或工、或赋色或晕墨,一幅中恒间出之。”张庚指出了蒋廷锡作品的多样性,或者一幅作品中所用笔法的多样性。据蒋廷锡的传世作品来看,他虽然深受恽寿平影响,并从游于恽寿平的弟子栖霞道人马元驭,但绘画并不仅仅用没骨法,也常常勾勒敷彩;画面不仅仅是花红羽翠,也常常用墨笔。这使他的画时而以富贵庄重冲淡了几分恽氏的娇媚,时而又像明朝的写意花鸟,勾花点叶,飘逸风流。
对历史上花鸟画家的评价
蒋廷锡有一首《扶郑羲赠花卉卷长歌以报》,非常能反映他对花鸟画传统的看法。诗的前面一半写马元驭绘制花卉笔力之高,后一半写的是他对历史上著名花鸟画家的评价:“华光和尚画者师,得其传者杨补之。徐熙双勾已妙绝,崇嗣没骨尤独奇。下至黄筌与钱选,晕碧裁红颜色显。木雕死印虽刻划,生趣活泼未尽善。吴中沈周石田翁,手腕随处生春风。特为古人开生面,今之学者称正宗。吾子本领复谁让,当时应在包山上。胆大运起抗鼎笔,精思肖出纤毫状。感君赠我画十幅,我为报君歌一曲。画长歌短君莫轻,归来补写千竿万竿竹。”其中可见他对徐熙的双勾法和徐崇嗣的没骨法较为服膺,而对黄筌、钱选的平涂设色画法感觉不够有生趣,他最为推崇的花鸟画家是沈周,而认为马元驭的技法不在陆治之下。
南京馆藏的《海棠牵牛图》
南京博物院所藏其《海棠牵牛图》就是一幅没骨法与勾勒法并用的作品。画中翠竹与牵牛花朵、海棠花朵都用墨线勾勒,各分浓淡,略施了淡彩以后,也是洗尽铅华、不着妖媚。依画中所题“模元人笔法”,画家可能有意取元朝画家陈琳(仲美)、王渊(若水)之法。蒋廷锡还曾在两幅花卉册页中题:“不生不熟,颇得元人用笔,唯墨气少神,功夫不到耳。”“勾描尚存南宋人意,不用焦墨,恐落浙派耳。”其实这两幅画都采用了没骨与勾勒并用,设色浅淡,枝叶的浑融不着笔迹已与南宋人的细腻勾勒相去甚远,淡墨勾勒花瓣略作晕染,墨分浓淡写叶之向背的方法非常像元朝张中(子政)。这与张庚形容的他所见到的蒋氏作品非常接近:“尝于海昌查氏见扇上画拒霜一枝,以率笔勾花及跗,渲以淡色,而以工笔点心,累累明析。叶用墨染亦工致,旁发一稚枝以焦墨染三蕊于上,蒂用双勾,笔笔名贵。”
笔下的花卉生态栩栩
由于水墨工具的灵活容易发挥,不拘泥于工致,蒋廷锡笔下的花卉虽设色简淡,却生态栩栩。但对于水墨的灵活,他仅取其生气,不取其疏狂,并不借笔墨随意发挥,而是相当克制的。他的墨荷花册页“仿天池笔,稍就规矩,不能狂毋宁狷也”。他的墨牡丹册提出“写牡丹当于整齐中求生动,若笔太松放便非牡丹品格。”蒋廷锡虽喜用墨笔,但绝不同于明朝青藤白阳的大写意,他追求宋人的理法和元人的墨韵。关于蒋廷锡绘画的真迹,画史上有很多说法:“有设色极工者,皆其客潘林代作也。”;“流传世间者真迹绝少,马扶郑羲父子代作者即可乱真也。”;“既贵显,矜重不苟作。今所传长卷大轴,皆赝本也。”;“大约妍丽工致者,多系门徒代作,非真迹也。”这些说法以及张庚所描述的所见其菊花扇面的风格,让人对一直以来所认为的蒋廷锡雍容华丽的风格有所怀疑。但笔者相信,以举人身份入值南书房,并且后来成为深受皇帝喜爱的画家,蒋廷锡这种风格的真迹一定是存在的。
北宋末年,宋徽宗的画院常以唐诗作为试题,还令宫廷画家学习儒家经典,称之为“画学”,并且将贵族子弟编入“士流班”,大有将宫廷画家文人化的倾向。《宣和画谱》不仅提倡花鸟画要有粉饰大化、文明天下、以便观者目协和气的功能,更提倡对花鸟知其名、识其理,在画花鸟的时候有所寓兴。宋朝宫廷画院花鸟画的繁荣似乎验证了学识、诗情的培养对花鸟画家的重要性,至今看来,这种对花鸟画家的训练以及对中国花鸟画功能的探讨仍然相当有效与深刻。
负责重辑《古今图书大成》等
蒋廷锡作为一名学者,曾负责重辑《古今图书大成》,对其中的《草木典》、《禽虫典》、《岁功典》等尤其着意,对这些资料汇集的过程也是他对花鸟知识从科学到艺术的一次全面整理。《岁功典》一百十六卷,其中仅关于春的就有“春部”、“孟春部”、“立春部”、“元旦部”、“人日部”、“上元部”、“仲春部”、“社日部”、“花朝部”、“季春部”、“上巳部”、“清明部”等12部,每部又分汇考、艺文、纪事等部分,将明朝以前的中国经史典籍、诗词歌赋以至地方志、文人笔记中但凡涉及到春天的话题都汇集在一起了。在《禽虫典》中,羽禽类就分六十部,除了常见于画的凤凰、鸾、鹤、鸠、鹰、燕等以外,还有极其珍稀少见的百舌部、桑扈部、鹪鹩部等等。这些知识的归纳和积累对他的诗与画都有很大帮助,在他的诗中,对草木的季节性、鸟虫的生理特征显得特别内行。他有一首描写螽斯的诗,其中几句这样写:“穷冬无大雪,三月无阴雨。早气产螽斯,戢戢遍禾黍。一日父生子,三日子如父。四日子复生,五日孙见祖。”这里是用螽斯的多而能食讽喻贪官,但螽斯也是中国花鸟画中常见的虫子,经常入画,那么对螽斯的出现节气、生殖能力、形状特征如此了解的他画起螽斯来想必会有不一样的感受。他画村居草虫可能是这样:“欲卜阴晴看蚁穴,试占丰欠听虾蟆。”画家自注“田家以上巳日闻虾蟆声为瑞”。他画青梅果应该是这样:“花落未一日,累累已结春。似珠攒蒂出,如豆着枝新。渐长方离苦,才生即有仁。缘条数易见,和叶辨难真。色借山头重,形疑鸟卵均。”他也经常以季节和花鸟抒发身世之感,如他的《遣春十首》、《表夏十首》、《秋日杂诗五首》等等。他对于草木、禽虫、季节的了解、体悟与观察,兼具了学者、诗人与画家的角度。他曾说元朝陈琳“以画作诗诗细腻,以诗作画画入神。”这句诗用在他身上好像也非常恰当妥帖。
蒋廷锡曾奉清雍正皇帝命,核定“古今图书集成”共一万卷。
Jiang Tingxi (1669 - 1732), the word unitary Jun, Yang Sun, Nansha, Nishiguchi, and No. Qingtong lay. The early Qing Dynasty political figures, painters. Han, Jiangsu Changshu people. Kangxi forty-two years (1703) Jinshi, Yongzheng served as Minister of the Ministry of Rites, the Ministry of Commerce, Wenhua Dian University Bachelor, Prince Taifu and other staff, is one of the Qing Dynasty important court painter. Yongzheng six years (1728) thanks to the Temple of the National Palace, is also responsible for household items. The next year plus Prince Taifu. Yong Zheng ten years (1732) died in office. Posthumous Wen Su.
Historical figures
Chinese Qing Dynasty painter. Good at flowers and birds, in order to escape the pen painting, odd job rate, color ink halo, both a natural contact and, Fengshen vivid, Yun flavor. Embellishment slope, even for blue bamboo, also has elegant. Has painted "70 flowers outside the Great Wall", is regarded as treasures in the palace. Kangxi sixty-one years (1722) Kangxi death, Yongzheng (1723) ordered by the extension of the lecturer, the Department of Shang Jiang Tingxi (1669-1732) re-edited "ancient and modern book integration". Jiang Tingxi to Chen Meng Lei's name is obliterated, write on his own name, he re-compiled "ancient and modern books integrated medical department" a total of 520 volumes of medical books, collection of ancient doctors, the highest class of Chinese medicine books. The "Qingtong Xuan autumn wind", "film cloud set". Year 64. Kangxi fifty-seven years (1718) as "Peony fan", Kangxi fifty-nine years (1720) as "year-old Jiuantu", "peach map". "Flower" volume, now in Nanjing Museum.
Qing literature scholars, books home. Forty-two years of Emperor Kangxi (1703) Scholars, grant Imperial Academy editing, calendar official Rites minister, the Ministry of Commerce, Wenhua Dian big scholar. Ren Binggong in Fu Zheng, remove the long-standing, very prestigious, erudite, especially good poetry and painting. By the sketches of flowers and blue bamboo sketch, color ink and facilities, self-contained. Chang Shiyu before painting, was hidden in Mige. Because the name is more important, the ghostwriter and fake many. Former president of the "History of the Ming" and "Peiwen Yunfu", "Kangxi Dictionary", "ancient and modern book integration" and other classics Jiandao Guan, in order to preserve and organize the ancient literature paid a lifetime of energy. And the collection of books have "bronze Xuan", a collection of printed "Jiang Yang Sun Keshi Ji", "Jiang's family books printed in India," and so on. Author of "Shangshu geography today release", "broken mountain set", "autumn", "bronze Xuan poetry collection".
Famous flower and bird painters
Jiang Tingxi is the famous flower and bird painter of the Qing dynasty. During the early Qing dynasty, Yun Shouping began to decline in the painting of flowers and birds. Jiang Tingxi did not have the skill of painting and changed his style. painting.
Born in the official family
However, as the son of a famous father, born in the official family of Jiang Tingxi is not just a famous painter, he is also a proficient official road, compassionate feelings of feudal officials, a scholar, a talented poet. Jiang Tingxi to Kangxi forty-two years of Jinshi, Yongzheng served as assistant minister of the Ministry of Rites, the Ministry of Commerce, Wenhua Dian big scholar, Taizi Taifu and other staff, from the editing, lecturers and other civilian, repeatedly promoted to become Yongzheng Of the famous minister. When he was sixty years old, he was not only the post of the bureaucrat of Wenhua Temple, but also the Prince Taifu, who is also the minister of household affairs and the president of Ming History. Qing Shizong had ordered him to Chen Menglei original series of "ancient and modern book" re-edition, all kinds of big and big, showing his extensive and far-reaching academic force. At the same time in the poetry, he is Song Luo, one of the fifteen gifted scholars of the river left, was a long poet Qian Lancan called "machine in the United States and vertical and horizontal access to Xiangshan, Dongpo, Sanin" It is a rising star of "learning nothing but learning nothing" and "early learning".
Existing his poetry collection
His collection of poems includes six volumes of Qingtong Xuan Poetry Anthology, a series of films, three scrolls of "Xishan Shuangqi", a volume of "broken mountain collection" and a volume of "Autumn Collection". The poems, poems, poems, poems, poems, poems and so on can be seen in Jiang Ting - xi 's understanding of natural human nature and the sentiment of life on this basis.
Multiple identities
Jiang Ting-xi, a scholar, painter and painter, is a typical example of the extensive and profound accomplishment of Chinese literati painters in the feudal society. Chiang Ting-xiu is well-known as a scholar-painter or scholar-painter. But few people will Jiang Tingxi paintings associated with the literati painting, mistakenly thought he was the court painter down a lot of people. Because he did have a work for the Royal, the Department of "minister" paragraph of the painting is. These paintings are generally elegant subject matter, meaning auspicious, large format and magnificent style, if from the style to, rarely for the literati painters involved, indeed as the court painter, this is Jiang Tingxi familiar face. However, we should see that Jiang Tingxi's painting features are more complicated. In many of the comments, the Qing Dynasty Zhang Geng of his evaluation more comprehensive: "to escape painting pen, or odd or positive, or rate or work, or color or stagnation ink, a constant out of the room. Points out the diversity of Jiang Tingxi's works, or the diversity of the brushwork used in his works. According to Jiang Tingxi's works handed down, although he was deeply affected by Yun Shouping, and from the swim in the Yun Shouping disciple Qixia Taoist Ma Yuan Yu, but the painting is not only with no bone method, and often outline painted color; picture is not just the flower plum , Often with ink pen. This makes his paintings sometimes dilute the wealth of a solemn Yun's flirtatious, and sometimes like the Ming Dynasty freehand flowers and birds, hook flowers point leaves, elegant romantic.
On the history of bird and flower painter evaluation
Jiang Tingxi has a "Fu Xun gift flowers long song to report", very able to reflect his views on the traditional bird painting. The first half of the poem written by Ma Yuanyu draw the pen height of the flower, after half of the history of his famous flower and bird painter's evaluation: "Huaguang monk painting division, get its biography Yang Buzhi. , Chong Si no bone especially odd. Down to the Huang Quan and money election, halo Bi-cut red color was wood carving death India is carved, lively and lively is not good.Wu Zhong Shen Zhou Shidian Weng, wrist everywhere Health spring. I have the courage to send anti-tripod pen, fine thinking Shaw out of fiber-like shape. A sense of Jun I donated ten paintings, I reported that the song Jun A song .Long long song Mo light, come back to fill the thousands of pole pole bamboo .In which he can Xu Xi double hook method and Xu Chongsi no bone method is more, and Huang Quan, money election flat coating Color painting method is not enough interest, his most respected flower and bird painter is Shen Zhou, and that the technology of Ma Yuan Yu is not the land under the rule.
Nanjing collection of "Begonia cows map"
Nanjing Museum of the possession of its "Begonia cows map" is not a bone method and sketching method and works. Picture of bamboo and morning glory flowers, Begonia flowers are outlined with ink, the points shades, slightly applied after the light color, but also wash the lead China, not seductive. According to the title of the painting, the artist may deliberately take the Yuan Dynasty painter Chen Lin (Zhong Mei) and Wang Yuan (Ruoshui). Jiang Tingxi also had two flowers in the album title: "not unfamiliar, quite a Yuanren pen, only ink less God, less than the ears." "Gouxiao surviving the Southern Song Dynasty, do not coke ink, Zhejiang sent to the ear. "In fact, these two paintings are used with no sketches and sketches, light color, blurred foliage of the blurred handwriting with the Southern Song Dynasty people have a far cry from the delicate outline, light ink sketch petals slightly smudges, ink Leaves to write the leaves of the method is very similar to the Yuan Dynasty Zhang (sub-political). This is described by Zhang Geng Jiang's work he saw very close to: "taste in Haichang Cha's fan painting to see a cream to a rate of hook flowers and tarsus, shaded with light, and to light-hearted snacks, tired Ming Analysis of leaves with ink stains also caused by a jujube sticks next to a three - core ink on the dye, the pedicle with double hook, pen and pen valuable.
The flowers of the ecological life Xu
As a result of the flexibility of ink tools easy to play, do not rigidly adhere to the work caused by Jiang Tingxi's flowers, although the color is short, but the ecological life. But for the flexibility of ink, he only take its angry, not whichever is sparse, not by writing freely play, but rather restrained. His ink lotus album "imitation Tianchi pen, slightly on the rules, not mad but rather". His ink peony book "write peony when neat in order to seek vivid, if the pen is too loose will be non-peony character." Although Jiang Tingxi like with ink pen, but definitely not the same as the Ming dynasty Qingyang Bai Yang's freehand, he pursued Song The Law of Man and the Rhyme of. On the authentic paintings of Jiang Tingxi, there are a lot of words in the history of painting: "There are those who have color workers, all their guest Pan Lin Dai Zuoyou."; "Spread the world who rarely authentic, Fu Fu Zhengxi father and son of the author can be true." ; ";"; About Yanli work caused by those who, more than disciples on behalf of, non-authentic also. "; These claims, as well as described by Zhang Geng (articles http://www.cn-articles.com/). Of the chrysanthemum fan's style, people have been considered Jiang Tingxi graceful style of doubt. But I believe that the identity of the people into the value of the Southern study, and later became the favorite painter of the emperor, Jiang Tingxi this style of authentic must be there.
At the end of the Northern Song Dynasty, Song Huizong's painting academies often used Tang poems as test questions, and the court painters learned Confucian classics as "painting studies" and incorporated the aristocratic children into the "scholar class" . "Xuan and painting spectrum" not only to promote the flower and bird paintings have to whitewash, civilized world, so that the purpose of harmony and the role of the audience, but also to promote their knowledge of the birds and their names, knowledge of their rationale, when painting birds and flowers have Xingxing. The Prosperity of the Flower and Bird Painting in the Court of the Song Dynasty. The Prosperity of the Flower and Bird Painting in the Court of the Song Dynasty. It seems that the cultivation of the knowledge and the cultivation of the poem is very important to the bird and flower painter. So far, the training of the bird and flower painter is still very effective and profound.
Responsible for the re - "ancient and modern books Dacheng" and so on
Jiang Tingxi as a scholar, has been responsible for the re-edited "ancient and modern books Dacheng", on which the "Code of grass", "Insects Code", "Year of the Code" and other special attention to these data collection process is his knowledge of flowers and birds from Science to the art of a comprehensive order. "Year of the Code" one hundred and sixteen volumes, of which only on the spring there are "Spring Department", "Meng Chun", "Spring Department", "New Year's Ministry", "people on the Ministry" The Ministry of the Ministry of "," Department of the Ministry of the Ministry of flowers, "" quarter of the Spring Department "," the Ministry of the Ministry "," Qingming Department "12, each Department of the sub-test, arts, chronicle and other parts, Towards the previous Chinese classics, poems and songs as well as local history, the scholar's notes in the spring when all the topics are brought together. In the "Bird Code", the feather birds on the sixty, in addition to the common in the painting of Phoenix, Luan, crane, dove, eagle, Yan, etc., there are extremely rare and rare hundred tongue, Sang Hu, Wren And so on. The induction and accumulation of these knowledge are of great help to his poems and paintings, in his poems, the vegetation of the seasonal, the physiological characteristics of birds and insects are particularly adept. He had a poem depicting Tortoise, and a few of them read, "There is no heavy snow in the poor winter, no rain in March, early gas-producing katydids, Ji Ji over the millet, one son in the third, But the katydid is also common in Chinese bird painting insects, often painting, then the emergence of katydid tusks, solar term, reproductive capacity, the shape of the characteristics of such a clear understanding of the so-called "tattoo" He painted katydid presumably to have a different feeling. He painted the village of grass insects may be like this: "Yu Bu Qingqing see ants, try to abundance of hearing toad." Painter since the note "Tian more than the Japanese had heard shrimp sound for the Swiss." He painted green plum fruit should be like this: "Huachu not one day, numerous has been end of spring.It seems like Zhu save Di, such as bean Zhizhi new. Gradually from the bitter side, only that students have benevolence. He also often to the season and the birds and flowers to express the sense of life experience, such as his "Spring 10", "table summer 10", "autumn", "autumn and autumn" Miscellaneous poems five "and so on. His understanding of vegetation, birds, season, understanding and observation, both scholars, poets and painters point of view. He once said that the Yuan Dynasty Chen Lin "to draw poetry delicate, with poetry painting into the spirit." This poem on him seems to be very appropriate appropriateness.
Jiang Tingxi Zeng Fengqing Emperor Yongzheng life, approved "ancient and modern book integration" a total of ten thousand volumes.
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