| 文物統一編號 |
故畫000651N000000000
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| 作品號 |
故畫00065100000 |
| 品名 |
明陳洪綬畫梅花山鳥 軸
Plum Blossoms and Wild Bird |
| 分類 |
繪畫 |
| 作者 |
陳洪綬 |
| 數量 |
一軸 |
| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清內府印 |
宜子孫 |
| 鑑藏寶璽 |
宣統帝 |
宣統御覽之寶 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶鑑賞 |
| 鑑藏寶璽 |
清仁宗 |
寶笈三編 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
山水 |
奇石 |
|
| 主要主題 |
翎毛 |
朱連雀 |
|
| 次要主題 |
花草 |
梅（白．紅．蠟梅） |
白梅 |
| 其他主題 |
花草 |
|
|
| 類別 |
參考資料 |
| 內容簡介 |
陳洪綬（西元一五九八－一六五二年），浙江諸暨人。字章侯，號老蓮。明亡後，又號悔遲、勿遲、雲門僧。專工人物，旁及花鳥、草蟲、山水，無所不能。其畫喜用誇張手法，表現變形趣味。 梅幹盤曲，糾錯轉出奇石之後。枝椏上梅花繁生，一山鳥棲歇其間，造型富趣味性，頗有作者自出之意。花以鉤勒填彩法畫成，線條遒勁穩定，傅彩濃淡得宜，朵朵圓實珠潤，奇巧可愛。
|
| Description |
Ch’en Hung-shou, a native of Chekiang province, specialized in figure painting, but was also gifted at other subjects, including birds-and-flowers, grasses-and-insects, and landscapes. He often used exaggerated techniques to transform his subject mater in his own unique stylized creations. A gnarled plum tree, its angular branches covered with blossoms, spirals around an ornamental rock, providing a fitting perch for a wild bird. This unusual bird is more reflective of the artist’s own peculiar style than that found in nature. The full, rounded shapes of the blossoms were outlined first in ink and then filled with delicate colors. The brushwork throughout is forceful and steady.
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| 網頁展示說明 |
陳洪綬（1598－1652），浙江諸暨人。字章侯，自號老蓮。明亡後，又號悔遲、勿遲、雲門僧。擅長書畫。在繪畫方面，他專工人物，旁及花鳥、草蟲、山水，無所不能。他所畫的人物，軀幹偉岸，衣紋細勁，兼有李公麟（1049－1106）和趙孟頫（1254－1322）之妙，不過他喜歡用誇張手法來作畫，是晚明變形主義畫風的大家。此外，他又參與版畫的製作，對晚明版畫藝術的提昇貢獻匪淺。 巨大的太湖石後，有一棵樹榦盤曲的老梅，枝椏上滿佈著含苞待放和盛開的梅花。一隻山鳥佇立枝上，側頭而望。這隻山鳥的鳥喙平伸，表情極富趣味性。陳洪綬以古籀法寫梅榦，筆力雄健。花以鉤勒填彩法畫成，輪廓線條細如游絲，遒勁穩定。花瓣和花蕊都用白粉點染，瓣瓣豐厚，朵朵圓實。石的皴紋扭動，筆墨圓潤而含蓄。
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| 網頁展示說明 |
Ch'en Hung-shou, a native of Chekiang province, spanned the Ming and Ch'ing dynasties and specialized in figure painting, but he was also gifted at other subjects, including birds-and-flowers, grasses-and-insects, and landscapes. In figure painting, he often used solid forms and taught drapery lines, revealing the features of Li Kung-lin's (1049-1106) and Chao Meng-fu's (1254-1322) styles. However, his style was often exaggerated, and he became known as one of the "transformation" artists of the late Ming. He also did illustrations for woodblock printing, making a major contribution to the art of woodblock illustration in the late Ming. A gnarled plum tree, its angular branches covered with blossoms and buds, spirals around a large ornamental Lake T'ai rock, providing a fitting perch for a wild bird. This unusual bird is perhaps more reflective of the artist's own peculiar style than that found in nature. Strong, calligraphic strokes define the trunk of the tree, and the full, rounded shapes of the blossoms were done first with delicate yet firm lines of ink and then filled with delicate colors. The details of the blossoms were delineated with white to give them a sense of fullness and volume. The texture strokes of the rocks are also animated, making this work seem both reserved and animated.
|
| 參考書目 |
劉芳如，〈明陳洪綬畫梅花山鳥 軸〉，收入《來禽圖—翎毛與花果的和諧奏鳴》（臺北：國立故宮博物院，2019.01），頁188-193。
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| 收藏著錄 |
石渠寶笈三編（延春閣），第五冊，頁2112
|
| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁481
|
| 收藏著錄 |
故宮書畫圖錄，第九冊，頁95-96
|
| 參考書目 |
1.〈明陳洪綬梅花山鳥〉，收入國立故宮博物院編，《晚明變形主義畫家作品展》（臺北：國立故宮博物院，1977年九月初版），頁486。
2.譚怡令，〈明陳洪綬梅花山鳥〉，收入譚怡令編，《畫裡珍禽》（臺北：國立故宮博物院，1988年十月初版），頁94。
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