民國陳衡恪細筆山水　軸

繪畫

基本資料典藏尺寸質地題跋資料主題技法參考資料保存維護

文物統一編號	購畫000035N000000000
作品號	購畫00003500000
品名	民國陳衡恪細筆山水　軸
分類	繪畫
作者	陳衡恪
創作時間	中華民國十一年（1922）
數量	一軸

位置	尺寸(公分)
本幅	29.7x38.2

質地位置	質地
本幅	紙本

題跋類別

作者

位置

款識

書體

全文

作者款識

陳衡恪印記 expand_more

本幅

息塵盦斠書圖。雪澂世丈命畫壬戌（西元一九二二年）冬仲陳衡恪。

楷書

印主	印記
陳衡恪	衡恪之印
陳衡恪	師曾

主題類別	主題(第一層)	主題(第二層)
主要主題	人物	高士（士人、隱士）
主要主題	建築	房舍
主要主題	建築	橋
次要主題	樹木	松
次要主題	樹木	芭蕉

技法	技法細目
無皴

類別	參考資料
內容簡介	陳衡恪（西元一八七六－一九二三年），江西修水人。字師曾，號朽者、朽道人。工篆刻、書法；畫山水得力於沈周，道濟、髡殘、石谿、藍瑛，筆法生辣堅強，鉤多皴少，瘦骨嶙嶙而有力；花卉挺拔俊逸，形態逼真，不敢怪態；偶作人物，亦兼寫生。　　畫家四十七歲早歿，此作成畫於前一年。松木、芭蕉環繞的書屋中，一人臨窗而，坐持書校閱。全作採俯視構圖，突顯了畫題，簡約的筆墨，使本幅園林小景，饒有清新爽健的詩情。
Description	Ch’en Heng-K’o (style name Shih-tseng and sobriquets Hsiu-che and Hsiu-tao-jen) was a native of Hsiu-shui, Kiangsi. He was gifted at seal carving, calligraphy, and landscape painting, following in the mature and powerful styles of such Ming (1368-1644) and Ch’ing (1644-1911) painters as Shen Chou, Shih-t’ao, K’un-ts’an, Shih-his, and Lan Ying, Using more outlines than texture strokes, his brushwork has a strong linear character, creating a fresh and powerful impact. His depiction of flowers was outstanding and untrammeled, their forms full of vitality. He did not follow in the exaggerated figural styles, but excelled at “sketching-from-life.” This painting was executed in 1922, one year before Ch’en passed away. Pines and plantains surround the studio depicted here. Through the window, a scholar sits holding a book and reading, and the scene is viewed from and elevated position to make everything more visible. The abbreviated brushwork gives this intimate forest scene a fresh and invigorating feel of a line of poetry.

類別

參考資料

內容簡介

　　陳衡恪（西元一八七六－一九二三年），江西修水人。字師曾，號朽者、朽道人。工篆刻、書法；畫山水得力於沈周，道濟、髡殘、石谿、藍瑛，筆法生辣堅強，鉤多皴少，瘦骨嶙嶙而有力；花卉挺拔俊逸，形態逼真，不敢怪態；偶作人物，亦兼寫生。　　畫家四十七歲早歿，此作成畫於前一年。松木、芭蕉環繞的書屋中，一人臨窗而，坐持書校閱。全作採俯視構圖，突顯了畫題，簡約的筆墨，使本幅園林小景，饒有清新爽健的詩情。

Description

Ch’en Heng-K’o (style name Shih-tseng and sobriquets Hsiu-che and Hsiu-tao-jen) was a native of Hsiu-shui, Kiangsi. He was gifted at seal carving, calligraphy, and landscape painting, following in the mature and powerful styles of such Ming (1368-1644) and Ch’ing (1644-1911) painters as Shen Chou, Shih-t’ao, K’un-ts’an, Shih-his, and Lan Ying, Using more outlines than texture strokes, his brushwork has a strong linear character, creating a fresh and powerful impact. His depiction of flowers was outstanding and untrammeled, their forms full of vitality. He did not follow in the exaggerated figural styles, but excelled at “sketching-from-life.” This painting was executed in 1922, one year before Ch’en passed away. Pines and plantains surround the studio depicted here. Through the window, a scholar sits holding a book and reading, and the scene is viewed from and elevated position to make everything more visible. The abbreviated brushwork gives this intimate forest scene a fresh and invigorating feel of a line of poetry.

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