| 文物統一編號 |
贈畫000449N000000000
|
| 作品號 |
贈畫00044900000 |
| 品名 |
清李鱓牡丹 軸
Peony |
| 分類 |
繪畫 |
| 作者 |
李鱓 |
| 數量 |
一軸 |
| 位置 |
尺寸(公分) |
| 本幅 |
130.2x44.8 |
| 全幅 |
217.8x57.2 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
李鱓
印記 expand_more
|
本幅 |
一層墨筆一層臺。知有仙人化蝶來。買盡洛陽千百種。何如此種四時開。乾隆二十一年歲在丙子（西元一七五六年）三月望日。復堂懊道人李鱓製於竹卥寓齋。 |
行書 |
|
|
|
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
|
文基珍藏 |
| 收傳印記 |
黃君璧 |
白雲堂 |
| 收傳印記 |
|
新安孫氏珍藏 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
花草 |
牡丹 |
|
| 類別 |
參考資料 |
| 內容簡介 |
李鱓（西元一六八六—一七六二年），江蘇興化人。字宗揚，號復堂，又號懊道人。康熙五十年（一七一一）舉人。官山東滕縣知縣，忤大吏歸。花鳥畫師蔣廷錫，又得高其佩傳，供奉內廷數載。歸退後，賣畫揚州，為揚州八怪之一。
本幅水墨畫牡丹，構圖簡明，畫筆縱橫，不拘繩墨，得自然天趣。幅上半題款書法古樸，雖隨意布置，別有佳趣。此幀為黃君璧先生捐贈。
|
| 內容簡介 |
李鱓（一六八六—一七六二）字宗揚，號復堂，又號懊道人。江蘇興化人。康熙五十年（一七一一）舉人。官山東滕縣知縣，忤大吏歸，花鳥畫師蔣廷錫，又得高其佩傳，供奉內廷數載。歸退後，賣畫揚州，為揚州八怪之一。
本幅水墨畫牡丹。畫筆縱橫，不拘繩墨，得自然天趣。幅上半題款，書法亦古樸，雖隨意布置，別有佳趣。
本幅為黃君璧先生捐贈。
|
| Description |
Li Shan was a native of Hsing-hua, Kiangsu. He passed the civil exam in 1711 and served as prefect in T’eng-hsien, Shantung. A conflict with his superior led to his retirement from this post. Li Shan’s bird and flower painting was modeled after Chiang T’ing-hsi and influenced by Kao Ch’i-p’ei. For a period of time Li Shan served in the court. After retiring, he sold paintings in Yang-chou, where he became known as one of the Eight Eccentics of Yang-chou.
This ink potrayal of a peony is painted in a loose, relaxed manner, and captures the naturalness of the flower. The calligraphy of the inscription is antique and direct. Though casually placed on the scroll, the writing adds measurably to the overall effect of the painting. This painting was presented to the museum by Huang Chun-pi.
|
| Description |
Li Shan, a native of Xinghua, Jiangsu, went by the style name Zongyang and the sobriquets Futang and Aodaoren. He became a Provincial civil service candidate in 1711 and served as prefect in Tengxian, Shandong, but returned home after coming into conflict with his superiors. Li’s bird-and-flower painting was modeled after Jiang Tingxi’s and influenced that of Gao Qipei. For a period of time, Li also served at court. After retiring, he sold paintings in Yangzhou, becoming known as one of the Eight Eccentrics there.
This portrayal of a peony in ink is done in a simple composition and painted in a loose, relaxed manner that does not adhere rigidly to the rules, thus capturing the naturalness of the flower. The calligraphy inscribed in the upper half of the painting is archaic and, though appearing casually placed, the writing adds measurably to the overall effect. This work was donated to the National Palace Museum by Mr. Huang Chun-pi.
|
| 參考書目 |
1.〈清李鱓牡丹〉，收入國立故宮博物院編輯委員會編，《牡丹名畫特展圖錄》（臺北：國立故宮博物院，1987年四月初版），頁45。
|
| 收藏著錄 |
黃君璧先生捐贈文物特展目錄，頁35-36、49
|
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
抽盤點紀錄
修護紀錄
