| 文物統一編號 |
故畫003490N000000008
|
| 作品號 |
故畫00349000008 |
| 品名 |
藝林清賞 冊 清瑛寶畫荷
Lotuses |
| 分類 |
繪畫 |
| 作者 |
瑛寶,劉墉 |
| 數量 |
一幅 |
| 位置 |
尺寸(公分) |
| 本幅 |
15.6x49.4 |
| 對幅 |
15.7x49.5 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
瑛寶
印記 expand_more
|
本幅 |
怡菴囑。瑛寶指戲。 |
行書 |
|
|
|
| 題跋 |
劉墉
印記 expand_more
|
對幅 |
癸酉秋日。錄請菊軒太宰教和。石菴弟劉墉。 |
行書 |
（第一則）回道人坐睡。因坐倚星槎。踵息向鼻端。詡詡見精神。朱顏自好非關酒。鶴氅雖寬不受塵。飄緲海山應入夢。宛騰雄劍尚隨身。仙家別有華胥國。剩比人間幾倍春。丙子（西元一七五六年）秋日。（第二則）鶴骨龍筋幾歲僵。凝來腦髓浣心腸。已成枯槁無生體。正有氤氳不盡香。沉水一痕蒼玉重。博山雙縷紫雲翔。何人解試無煙火。午夜燈明證坐忘。癸酉（西元一七五三年）秋日。錄請菊軒太宰教和。石菴弟劉墉。 |
|
|
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
花草 |
蓮荷 |
|
| 類別 |
參考資料 |
| 內容簡介 |
瑛寶（西元十八世紀後葉－十九世紀），滿洲正白旗人。姓拜都氏，字夢禪，號閒菴。曾官筆帖式，然年三十即因足疾致仕，歸後純賴詩歌與丹青、篆刻自娛，最長於指畫，作品以簡貴勝，并嘗自許為高其佩（清中葉指畫大家）後第一人。本幅屬折扇式，畫池塘一角，秋荷敗葉相傍而生；通幅布局、墨彩俱極簡淡。上幅另有劉墉於癸酉（一七五三）及丙子（一七五六）年之詩作二首。瑛寶與墉素為文字交，畫風亦頗相類，此作堪為之證。
本幅為「藝林清賞」冊第八開
|
| Description |
Ying Pao, surnamed Pai-tu, was a Manchu who belonged to the Plain White Banner group. His style name was Meng-ch’an, and his sobriquet was Hsien-an. He once served in the Clerks’ Office. When he was thirty, he retired from officialdom because of an illness affecting his feet. He occupied himself entirely with composing poetry, singing, painting, and carving seals, but he was most skilled in finger painting. Because of the simplicity of his works, he gained great fame. He also claimed that he was the first finger-painter after Kao Ch’i-p’ei, a great finger-painter of the middle Ch’ing dynasty. Painted on the format of a folding fan, this work is a depiction of a pond in one corner with withering autumn lotuses and leaves. Light ink and colors were used throughout the painting. On the upper portion there are two poems by Liu T’ang written in 1753 and 1756. Both Ying Pao and Liu T’ang were literary friends, and their styles were similar, as demonstrated in this work.
This painting is the eighth leaf in the album Yi-lin ch’ing-shang.
|
| 收藏著錄 |
〈藝林清賞 冊 清瑛寶畫荷〉，收入李玉珉主編《故宮書畫圖錄(卅一)》（臺北：國立故宮博物院，2012.12），頁68-77。
|
| 收藏著錄 |
故宮書畫錄（卷八），第四冊，頁162
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本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理
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