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        百年西泠的獨(dú)特印記

        2021-03-26 13:27:21
        文化交流 2021年2期
        關(guān)鍵詞:印學(xué)西泠孤山

        一座孤山,一個百年名社,一枚印章,一種江南士大夫文化風(fēng)氣,這些告訴我們:自然景觀的唯一性、藝術(shù)社團(tuán)的世界影響力、篆刻金石歷史的橫貫幾千年、文化范式和價值觀的碩果僅存,四者融合,就構(gòu)成了西泠印社最鮮明的無與倫比的“文化印記”。這不僅是“浙江文化印記”的核心組成部分,更是中國和世界“文化印記”的重要一環(huán)。

        作為“浙江文化印記”中西泠印社的獨(dú)特印記功能,我以為可以從三個方面來加以定位:一、無可爭議的專業(yè)領(lǐng)袖;二、涵括百年的文史標(biāo)志;三、作為西湖冠冕的景觀審美。

        專業(yè)印記

        西泠印社給世人的印象,是篆刻藝術(shù),是“印”與“中國印”。在中國古代傳統(tǒng)藝術(shù)諸門類如詩書畫印音舞曲劇中,只有印章和篆刻,是既直接聯(lián)系著古代史、古代制度、古代器物、古代文字,又能體現(xiàn)出深厚蘊(yùn)藉的文人趣味,還能作為社會政治經(jīng)濟(jì)生活和日常交往中“取信”實(shí)用功能而貫穿五千年歷史的典范。“印學(xué)”一門,在古代是歷史考古,在近代是藝術(shù)審美;而西泠印社,正是此中無可爭議的代表,是引領(lǐng)時風(fēng)的冠冕。其實(shí),就商周戰(zhàn)國秦漢的古璽漢印而言,置身浙江杭州的西泠印社本無地理優(yōu)勢,而以黃河流域的陜洛關(guān)中為核心擴(kuò)大為晉冀魯豫文化圈,才是上古文化的集聚中心地。然而,正是西泠印社一則利用長江流域的浙蘇皖江南文人士大夫文化所孕育的篆刻文化,上承明清、遙接秦漢,又以其印史研究、收藏鑒定、編譜刊行的一系列引領(lǐng)行為,使西秦中原和蘇皖浙滬,萬法歸宗,共同融匯為一個大“印學(xué)”,而依靠歷史機(jī)緣,乃得由西泠來樹幟張目。這種“專業(yè)印記”的世界性地位,在目前是世所公認(rèn)的。

        中國印文化,更以2008北京奧運(yùn)會以“中國印”為會徽,使得“印章”“印信”文化概念與樣式遍布世界五大洲。這些,都在加強(qiáng)、樹立西泠印社所代表的傳統(tǒng)文化、印文化方面,起到了一個非常積極、無可置疑的國家層面上的支撐作用?!罢憬幕∮洝睒?gòu)成中的“印記”二字,首先就直接落腳在西泠印社的“印”上。我們認(rèn)為:“文化印記”本來可以有抽象的理解,但對于西泠印社而言,它卻是一個最具體的物質(zhì)的“印記”。單就“印記”二字的釋詞明義來說,百年西泠這樣的優(yōu)勢,其他“文化印記”所包含的各種形式各種內(nèi)容,恐怕未必有。

        文史印記

        西泠印社117年浩瀚而曲折的人文歷史,則是又一個鮮明的“文化印記”。身處浙江省會杭州,在浙江文化的最中心地帶,而且是貫穿從清末、民國、抗戰(zhàn)到中華人民共和國成立、十年動亂、改革開放、新時期的各個遭遇坎坷磨難、走向發(fā)展繁榮的漫長歷史時期,作為一個藝術(shù)社團(tuán),縱貫117年而始終不中斷,這樣的記錄,別說在浙江,就是在全國,也是絕無僅有、獨(dú)一無二的;而在這個“文史印記”中,最核心的當(dāng)數(shù)西泠印社波瀾壯闊的社史百年。從一個傳統(tǒng)文人士大夫社團(tuán)在杭州成立,到與上海聯(lián)姻而延請吳昌碩出任社長,再到每年春秋兩季雅集,逢十年大慶,贖回《漢三老諱字忌日碑》并建“三老石室”,抗戰(zhàn)時對社址的守護(hù),和在上海編《丁丑劫余印存》,延至1947、1948的補(bǔ)行雅集和馬衡遙領(lǐng)社長,中華人民共和國成立后的張宗祥為恢復(fù)印社奔走呼吁,西泠印社六十大慶,動亂時期的孤山文物保護(hù),直到改革開放后的改制、百年社慶……進(jìn)入興旺發(fā)達(dá)的新時代,由沙孟海、趙樸初、啟功、饒宗頤等巨匠大師出掌社事,這些歷史事實(shí),都是一個個鮮明的“印記”,每一個史事背后都有一連串的感人故事。至于作為實(shí)例的“印記”文獻(xiàn),則有民國時期的《西泠印社小志》《西泠印社三十周年紀(jì)念刊》以及高式熊《西泠印社同人印傳》、韓登安《西泠印社勝跡留痕》兩部記人記地的重要印譜。二十世紀(jì)五十年代王福庵領(lǐng)銜的《西泠印社志稿》最稱權(quán)威,是我們了解早期社史的主要依據(jù);而百年社慶時期推出的《西泠印社百年圖史》《西泠印社百年史料長編》,作為“左圖右史”的百年社史全面梳理,起到了固化“印記”、留存歷史記憶的重要作用。

        實(shí)景印記

        西泠印社是一個百年社團(tuán),但它更是一個實(shí)體的時空存在。有曰浙江的重心在杭州,杭州的中心在西湖,而西湖的核心在孤山;兼括里、外西湖,被稱為西湖這頂皇冠上的明珠的孤山西泠印社的園林,帶動了整個杭州西湖景觀并營造出優(yōu)雅清淡的文士氣息。從數(shù)峰閣到柏堂、竹閣、石交亭、小龍泓洞、仰賢亭,再到寶印山房、山川雨露圖書室、鴻雪徑、涼堂、四照閣、題襟舘、華嚴(yán)經(jīng)塔、觀樂樓、漢三老石室、小盤谷、遁庵、還樸精廬……每一個景點(diǎn)每一座建筑,都是一種明確的文化“印記”,及時記錄了西泠先賢創(chuàng)基立業(yè)的辛勞與堅(jiān)強(qiáng)不屈的意志。每年春季清明祭祖、秋季重陽登高;社中長老新進(jìn),彬彬秩秩,云集孤山,追懷前賢,提點(diǎn)后學(xué);百年之系,氣聚而不散,正有賴于這一泓西湖一架孤山精美絕倫苦心孤詣雕琢幾十年之社址“印記”之存在;而各類建筑中的大量匾額對聯(lián)和各種摩崖刻石印人畫像,與山水樹木源泉池塘相映襯,更是一種存于天地之間的自然“印記”。這些景觀,極大地豐富了西湖山水景觀的人文內(nèi)涵,又獨(dú)立構(gòu)成一個絕頂精致的、一步一景一移一觀的小宇宙小世界,從而在一個喧囂的現(xiàn)代社會中,完整地保存了一個中國古典文化靜謐的精神世界和有形的物質(zhì)空間。更進(jìn)而言之,孤山園林景觀和它背靠的千年西湖,和西泠印社印文化所依賴的浩瀚文化數(shù)千年歷史,它們?yōu)楫?dāng)下提示出的,是在永恒無始終的時間綿延之維中,通過有形的山水“印記”物理空間,引帶出永恒的人文“印記”心理空間。

        西泠印社孤山園林的“印記”,還表現(xiàn)出一種充滿了文史藝術(shù)基因的特定形態(tài)。清代章學(xué)誠有“人心營構(gòu)之象”的著名學(xué)說,指中國詩書畫印的自然對象,都不是簡單的客觀對象,而是在自然形式中,融入了“人心”(詩性、畫境、書韻、印趣)的精心構(gòu)筑意匠營造。從本質(zhì)上說,章學(xué)誠所拈出的這個“人心營構(gòu)”,落實(shí)在孤山園林景觀空間的塑造上,正體現(xiàn)出作為文化歷史“印記”的審美內(nèi)涵所在。

        沒有孤山社址這個實(shí)景式“印記”,縱貫百年的西泠印社中人就不會有強(qiáng)烈而明確的歸屬感、凝聚力,也不會產(chǎn)生專業(yè)信仰與理想,更不會有持久永恒橫跨百年四五代形成“接力賽”的耐力和毅力。

        討論“浙江文化印記”,重點(diǎn)是在“印記”——什么樣的人、事、物,足以構(gòu)成“印記”?曇花一現(xiàn)、轉(zhuǎn)瞬即逝,或不具有典范意義的日常生活晨昏起居、衣食住行、吃喝拉撒,當(dāng)然不足以構(gòu)成“印記”。以此來看,西泠印社作為“印記”,它的地域規(guī)定是“浙江”,它的范疇規(guī)定是“文化”,而真正作為“印記”本體的,除了古今印章、百年社史、孤山園林這三大體征外,更有一個內(nèi)向的和外向的豐富“印記”內(nèi)容。

        ——先看外部“印記”的標(biāo)識內(nèi)容。

        西泠印社在改革開放四十多年來,獲得的在全國獨(dú)有的定位與榮譽(yù),計(jì)有如下多項(xiàng):一是世界非物質(zhì)文化遺產(chǎn),二是國家級社團(tuán),三是國家級文物保護(hù)單位,四是國家級專業(yè)博物館,五是國家級非物質(zhì)文化遺產(chǎn),六是國家級馳名商標(biāo)……這些榮譽(yù),放眼當(dāng)下,任何一個藝術(shù)社團(tuán),得一即殊為不易,況有如此之眾乎?

        ——再看內(nèi)部“印記”的精確涵義。

        117年之前的創(chuàng)社之初,吳昌碩與丁仁、王禔、葉銘、吳隱創(chuàng)社四子,即立下了宗旨:“保存金石、研究印學(xué)”。60年前的社慶,西泠中興,前賢為全面包容計(jì),又加了“兼及書畫”。使今日所提倡的兩大目標(biāo):“重振金石學(xué)”和“詩書畫印綜合(兼能)”,竟?fàn)枔碛辛艘粋€思想上和學(xué)術(shù)藝術(shù)的根本源頭。這,當(dāng)然就是一種思想的“印記”,縱貫117年迄今為止西泠獨(dú)一無二的“印記”,這正是新時代浙江乃至全國、全世界“文化印記”在孤山西泠這一方凈土的伸延發(fā)展和升華。

        保存金石:“重振金石學(xué)”——傳統(tǒng)文化的存亡繼絕

        首先,是1904年西泠印社擬創(chuàng)社宗旨八字方針中的第一句:“保存金石”。古代金石學(xué)從宋代歐陽修、趙明誠、李清照的開創(chuàng)樹幟以下,直到清代康乾尤其是乾嘉道咸之間的金石考據(jù)學(xué)中興崛起,兩座歷史高峰在前,直到清末仍然影響巨大。然而時至清末民國之際,廢科舉興學(xué)堂辦新學(xué),“西學(xué)東漸”之風(fēng)遍至,在新辦初等小學(xué)堂高等小學(xué)堂中等師范學(xué)堂高等師范學(xué)堂一直到京師大學(xué)堂教育序列之中,其大學(xué)級在學(xué)科目錄和課程中,傳統(tǒng)“金石學(xué)”已經(jīng)為考古之學(xué)等所替代,其學(xué)科內(nèi)容已被分解消化到古文字學(xué)、古文獻(xiàn)學(xué)、古碑帖學(xué)、古器物學(xué)、古典文學(xué)、考據(jù)辨?zhèn)沃畬W(xué)等門類中去。而西泠印社審時度勢,在當(dāng)今時代鄭重發(fā)起“重振金石學(xué)”,正是在以實(shí)際行動承傳優(yōu)秀傳統(tǒng)文化。作為其“印記”的標(biāo)識,目下正在推進(jìn)的項(xiàng)目,一是倡導(dǎo)碑帖拓片題跋,二是恢復(fù)青銅器全形拓,三是拓展硯銘鐫刻文化,四是重新恢復(fù)宋代以來的刻帖傳統(tǒng),以及逐步提升石碑鐫刻、摩崖鐫刻的水平。此外,鑿銅切玉、塑陶煉瓷,都是古典金石學(xué)在今天呈現(xiàn)為“文化印記”的應(yīng)有內(nèi)容。

        研究印學(xué):“國際印學(xué)研究中心”——“東學(xué)西漸”的中國自信和遠(yuǎn)期目標(biāo)

        已故沙孟海先生對西泠印社的定位,明確指示要打造“國際印學(xué)研究中心”。這是上承1904年印社初創(chuàng)時八字方針中的第二句:“研究印學(xué)”,已經(jīng)成為新時期西泠印社的最主導(dǎo)、最核心的社務(wù)工作目標(biāo)。我們在百年社慶后,堅(jiān)持每年有大小不同專題的學(xué)術(shù)研討會,從“孤山證印”國際印學(xué)峰會,到全國印學(xué)研討會和各專題的討論會,每年著作論文的學(xué)術(shù)積累、道古述今,平均總在百萬字?jǐn)?shù)。若論印學(xué)研究,除金石學(xué)、碑帖學(xué)、印譜學(xué)、古璽印學(xué)等作為傳統(tǒng)核心學(xué)術(shù)內(nèi)容之外,更有新開拓的學(xué)術(shù)研究領(lǐng)域,如“圖形印”“非漢字系統(tǒng)印章”“域外印章”“少數(shù)民族印章”“世界圖紋與印記”等等,皆成為令人耳目一新的學(xué)術(shù)新創(chuàng)。此外,西泠印社早期社員社史研究、“重振金石學(xué)”研究、“封泥”研究、中國印譜史研究,以及徽浙文、何、丁、黃、鄧、趙等等的印家研究和金石家研究等等,都是這數(shù)十年來西泠印社全社上下勠力同心、眾志成城,而在學(xué)術(shù)研究中創(chuàng)造、擁有、形成的獨(dú)特“文化印記”。尤其是已故饒宗頤社長對西泠印社提出要“東學(xué)西漸”的文化遠(yuǎn)見,而我們也以專業(yè)視角主動對接時事,在事關(guān)國策的“一帶一路”的大布局中,以當(dāng)代篆刻藝術(shù)的創(chuàng)作呼應(yīng)之,這當(dāng)是實(shí)實(shí)在在不斷創(chuàng)造著新的國際化“文化印記”的重要之舉。

        兼及書畫:“詩書畫印綜合(兼能)”——時風(fēng)倡導(dǎo)與個人修為并重

        自清末以來,辦新學(xué)堂,建新學(xué)科,從古代作為傳統(tǒng)舊學(xué)的經(jīng)史子集“四部之學(xué)”,到西方舶來作為現(xiàn)代新學(xué)的文理法農(nóng)工商醫(yī)“七科之學(xué)”,呈現(xiàn)出一種學(xué)科獨(dú)立細(xì)分、不斷分析推演的精深學(xué)問建構(gòu)方式。在文科中,原來是文史哲不分,清末尤其是民國以來,則是中文系歷史系哲學(xué)系各科壁壘森嚴(yán),互劃鴻溝。在美術(shù)方面,則表現(xiàn)為繪畫、雕塑與書法篆刻分科;繪畫中又以油畫國畫版畫水粉水彩素描速寫分科;古代文人士大夫立場上的“詩書畫印”一體的悠久傳統(tǒng),在近代新學(xué)的沖擊下土崩瓦解、瀕臨危境?!胺挚啤弊鳛椤懊佬g(shù)”的西來立場,已成為時代需求,是時尚是新學(xué);而“綜合”作為“書畫”的老舊立場,已漸漸為時代所遺忘?;诖?,我們經(jīng)過深思熟慮,反復(fù)斟酌,在百年西泠的社務(wù)改革中,特別提出要敢于反向而行:再次逆勢倡導(dǎo)“詩書畫印綜合(兼能)”,以保存?zhèn)鹘y(tǒng)精華。西泠印社本身就是一個傳統(tǒng)文藝社團(tuán),二十世紀(jì)六十年代又鑒于發(fā)展需要,增加“兼及書畫”。但我們今天的倡導(dǎo),并不是過去的簡單翻版,而是在“綜合”(觀念認(rèn)知和學(xué)科融匯立場)和“兼能”(社員個人能力)兩個關(guān)鍵詞之間下功夫??v觀近現(xiàn)代百年美術(shù)書畫史,西泠印社的“詩書畫印綜合(兼能)”的提倡,是與時代錯軌而行的大膽創(chuàng)新“印記”,是唯浙江、唯杭州、唯西泠才有的鮮明的“文化印記”。

        “浙江文化印記”中的西泠印社,因其專業(yè)形態(tài)就是現(xiàn)成的“印”“記”而有著直截了當(dāng)、一目了然、得天獨(dú)厚的核心優(yōu)勢,但在今后,在浙江一方水土人文的豐厚滋養(yǎng)下,我們認(rèn)定百年西泠還會創(chuàng)造出更多更有價值的“印記”,成為浙江的文化驕傲,更成為中國的文化標(biāo)志。2008北京奧運(yùn)會會徽已經(jīng)有了一個極成功的開端,今后,由此孕育、培養(yǎng)、形成的充分的中國文化自信,必然會幫助我們不斷尋找或擁有更多的中華文明和文化的發(fā)展機(jī)遇。

        (作者系西冷印社副社長兼秘書長,題目為編者所加。感謝西泠印社為本欄目提供圖片)

        Unique Characteristics of Xiling Seal Art Society

        The Xiling Seal Art Society is famed for its location on the scenic West Lake, its international influence, its focus on seal art which goes back to more than 2,000 years ago, and its cultural essence and value.

        The society is unique because it has masters whose importance in the history of Chinese art is indisputable; it exists as a landmark of history and culture for more than 100 years; and it is part of the aesthetics of the West Lake, which is a site of UNESCO world cultural heritage.

        The society stands for professionalism. Of all the things that have come down to us from very ancient times, seals and seal carving represent history, ancient systems, ancient artifacts, and ancient texts and scripts and calligraphic styles. Moreover, they convey the sentiments of literati masters. Seal studies in the ancient times were principally about history and archaeology and in modern times are essentially about art and aesthetics.

        Since the Ming Dynasty (1368-1644) up to present day, Jiangsu and Zhejiang in the south of the Yangtze River Delta have produced seal artists whose names are in the history of Chinese art. Though the region is far from the cradles of ancient Chinese dynasties in the Yellow River basin, seal artists in the region rediscovered the glory and splendor of the ancient calligraphy and seal engraving, and carried on the calligraphy and seal-carving tradition of the Qin (221-207BC) and the Han (206BC-220AD) dynasties. The seals created by these men of letters including painters, calligraphers, and poets express idiosyncrasies, sentiments, thoughts, and ideals. It is in their hands that seal studies have become an academic discipline and innovative cultural undertaking. The societys professionalism seen in seal studies is internationally recognized.

        The seal art upheld by the society is not an abstract conception. It is real and it is huge. The Beijing 2008 Olympics emblem, unveiled in 2003, was a crystal-clear Chinese seal carved on a jade stone. The main part of the official emblem, a red dancing figure, resembles the Chinese character "京" (Beijing, capital), its free-style strokes symbolizing the energetic and open city of Beijing. The design well represents the spirit, characteristics and verve of the Chinese culture. Even “Beijing 2008”, the central part of the emblem between the seal above and the five rings underneath, is written in the calligraphic style with a brush pen, which also embodies seal art.

        The 117-year history of the Xiling Seal Art Society abounds with culture. The society is a distinct cultural undertaking. Located in Hangzhou, capital city of the province and therefore the center of all things of the province, the society has seen the end of the Qing Dynasty, the birth of the Republic, the decades of political and military chaos, the wars, all kinds of tumults after the founding of the Peoples Republic of China, its comeback and prosperity since the late 1970s. As a society of art, it is unique not only in Zhejiang but also in the entire country. The chronicle of the society details various events. Memoires and short histories penned by members of the society at different periods of the 117-year history keep so many historical figures and historical moments alive.

        The physical beauty of the society on the West Lake testifies to the significance of the cultural institution. It is said that Hangzhou is the center of Zhejiang, the West Lake is the heart and soul of Hangzhou, and the Solitary Hill is the center of the West Lake. The nice reasoning, made jokingly, ends with this, leaving one to conclude that the society is one of the best cultural attractions of the lake zone. The venue snuggles comfortably at the foot and perched on the western end of the Solitary Hill. It is like a garden. The garden is composed of various ancient structures, nothing looking grand and everything seeming miniaturized. Yet it is complete, full of poetic couplets as well as images and inscriptions carved on rocks. The Xiling Society looks like a museum, suggesting a physical and tangible mix of cultural space and time.

        Shortly after the establishment of the society, Wu Changshuo and four founders identified the societys mission: preserve the inscriptions on ancient bronzes and stone tablets and promote seal studies. No other cultural institutions in China have a similar mission.

        Xiling Seal Art Society preserves ancient inscriptions on bronzes and stone tablets. There were two important peaks in the history of studies of the inscriptions on ancient bronzes and stone tablets. The studies first flourished in the Song Dynasty (960-1279), promoted by Ouyang Xiu, Zhao Mingcheng and his wife Li Qingzhao. The second peak appeared in the Qing Dynasty (1644-1911) when scholars worked as archaeologists and studied ancient texts copied from bronzes and stone tablets. When the modern western-styled education system was established in China, the studies of inscriptions on bronzes and stone tablets, first of all, were partly replaced by archaeology and other disciplines such as studies of the ancient philology, studies of inscriptions on ancient bronzes and stone tablets, studies of ancient artifacts, ancient literature, textual criticism and research.

        Xiling Seal Art Society promotes seal studies. The society has wanted to promote seal studies for a long time. Sha Menghai (1900-1992), who headed the society from 1979 to 1992, set up the aim for the society to be the international center for seal studies. The society now holds seminars and workshops on various subjects including inscriptions on ancient bronzes and stone tablets, rubbings of stone tablets, seal prints, and ancient government seals. In addition to such traditional subjects, scholars and artists of the society have broadened their studies to graphic seals, non-Chinese-character seals, international seals, seals used by minorities in China. History is a focus of seal studies, including the history of the society and its members in the early decades, important seal artists in history, scholars and collectors of inscriptions on ancient bronzes and stone tablets in history, the history of seal prints in China, etc.

        Painting and calligraphy are an essential part of the societys mission now. In the early years of the society, the organizations mission didnt include painting and calligraphy. In old days, scholars were versatile: they painted and wrote calligraphy, they composed poems and penned essays. If they passed imperial examinations, they were appointed to government positions. In modern times, art education isnt as comprehensive as it was in the past. In the modern education system, an artist may be a master painter, but his calligraphy can be mediocre, and very probably he cant even be called a poet or an essayist. The society now goes against this intricate array of academic disciplines. It wants members to know more about other disciplines and wants its members to be all-rounded artists.

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