清錢慧安美人圖　軸

A Beauty

繪畫

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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000020N000000000
作品號	購畫00002000000
品名	清錢慧安美人圖　軸 A Beauty
分類	繪畫
作者	錢慧安,Qian Hui’an
數量	一軸

位置	尺寸(公分)
全幅	165.4x43
本幅	66x31

質地位置	質地
本幅	紙

題跋類別

作者

位置

款識

書體

全文

作者款識

錢慧安印記 expand_more

本幅

清谿樵子錢慧安

行書

印主	印記
錢慧安	吉生

簽

包首

錢慧安美人圖。

主題類別	主題(第一層)	主題(第二層)
主要主題	人物	仕女
次要主題	樹木	梧桐
其他主題	山水	奇石
其他主題	建築	欄杆
其他主題	器用	扇

技法	技法細目
寫意

類別	參考資料
內容簡介	錢慧安（1833-1911），寶山（今上海）人，一作浙江湖州人，一作仁和（今杭州）人，僑上海。初名貴昌，字吉生，號雙管樓，一號清谿樵子。善人物、仕女，畫風受陳洪綬、黃慎、費丹旭等人影響，筆意遒勁，態度閒雅，間作花卉、山水亦佳。　　　梧桐樹下仕女持扇倚欄而立，後襯湖石，凝視前方，若有所顧。衣褶筆調刻意轉折，人物衣褶常成為畫幅重點的特色，也顯現在本幅中。此作購於民國75年。 (20120106)
Description	Qian Hui’an, who resided in Shanghai, was a native of Baoshan (modern Shanghai), but some say he was from Huzhou in Zhejiang or Renhe (modern Hangzhou). His early name was Guichang, and he had the style name Jisheng and the sobriquets Shuangguanlou and Qingxi qiaozi. He excelled at painting figures, especially ladies, his style influenced by such artists as Cheng Hongshou, Huang Shen, and Fei Danxu. His brushwork is strong yet elegantly relaxed, and the flowers and landscapes he occasionally did are also excellent. Under a paulownia tree stands a lady holding a fan and leaning by a railing. Behind her is a garden rock as she stares ahead, as if having everything she could want. The folds of drapery turn in an exaggerated way in Qian’s works, becoming the focus of the attention in painting, a feature that is also evident here. This painting was purchased by the National Palace Museum in 1986. (20120106)

類別

參考資料

內容簡介

錢慧安（1833-1911），寶山（今上海）人，一作浙江湖州人，一作仁和（今杭州）人，僑上海。初名貴昌，字吉生，號雙管樓，一號清谿樵子。善人物、仕女，畫風受陳洪綬、黃慎、費丹旭等人影響，筆意遒勁，態度閒雅，間作花卉、山水亦佳。　　　梧桐樹下仕女持扇倚欄而立，後襯湖石，凝視前方，若有所顧。衣褶筆調刻意轉折，人物衣褶常成為畫幅重點的特色，也顯現在本幅中。此作購於民國75年。 (20120106)

Description

Qian Hui’an, who resided in Shanghai, was a native of Baoshan (modern Shanghai), but some say he was from Huzhou in Zhejiang or Renhe (modern Hangzhou). His early name was Guichang, and he had the style name Jisheng and the sobriquets Shuangguanlou and Qingxi qiaozi. He excelled at painting figures, especially ladies, his style influenced by such artists as Cheng Hongshou, Huang Shen, and Fei Danxu. His brushwork is strong yet elegantly relaxed, and the flowers and landscapes he occasionally did are also excellent. Under a paulownia tree stands a lady holding a fan and leaning by a railing. Behind her is a garden rock as she stares ahead, as if having everything she could want. The folds of drapery turn in an exaggerated way in Qian’s works, becoming the focus of the attention in painting, a feature that is also evident here. This painting was purchased by the National Palace Museum in 1986. (20120106)

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