清居廉花果　軸

繪畫

基本資料典藏尺寸質地題跋資料印記資料主題技法參考資料保存維護

文物統一編號	購畫000018N000000000
作品號	購畫00001800000
品名	清居廉花果　軸
分類	繪畫
作者	居廉
創作時間	清德宗光緒二十四年（1898）
數量	一軸

位置	尺寸(公分)
全幅	49.4
本幅	76.5x40

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

居廉印記 expand_more

本幅

戊戌（西元一八九八年）新春。隔山老人居廉。

行書

印主	印記
居廉	古泉
居廉	可以

簽

包首

居古泉花果。

印記類別	印主	印記
收傳印記	熊式一	逸齋秘笈
收傳印記	熊式一	熊式一所藏

主題類別	主題(第一層)	主題(第二層)	主題說明
主要主題	花草	水仙
主要主題	花草	牡丹
次要主題	果蔬		蘋果
次要主題	果蔬	柿
次要主題	果蔬	桔．橙
次要主題	器用	花器

技法	技法細目
白描

類別	參考資料
內容簡介	居廉（西元一八二八–一九０四年），廣東番禺人。字士剛，號古泉，別號隔山老人、羅浮散人。居廉幼年即失怙恃，從兄居巢憐其才，曾授與花卉寫生之法，後又兼取惲壽平、宋光寶、孟覲乙等人的沒骨技法，成就一派新穎之寫生風格。時人遂以「居派」名之，或稱「隔山派」。　　本幅繪瓶花、水仙，除前景配置紅柿、蘋果、柑橘外，餘均和院藏另幅「花卉」無貳，兩畫相較尤能顯現居氏一貫之構圖理念。
Description	Chu Lien (style name Shih-kang; sobriquets Ku-ch’ uan, Ke-shang lau-jen, and Lo-fu san-jen) was a native of Fan-yu, Kwangtung. Losing both parents in his childhood, he learned techniques for depicting hsieh-sheng (painting from life) flowers and plants from his cousin Chu Ch’ao. Later he also combined the boneless method of painting practiced by Yun Shou-p’ing (1633-1690), Sung Kuang-pao, and Meng Chin-yi and started a new school of hsieh-sheng style painting. Contemporaries eventually called it the “Chu” school or the “Ke-shan” School. A vase of flowers and a narcissus plant constitute elements in the composition of this painting. Besides the red persimmons, apples, and Mandarin oranges arranged in the front of the scene, the composition is identical to another painting in our collection entitled “Flowers.” Compared with each other, viewers are especially able to comprehend Chu’s concept of composition.

類別

參考資料

內容簡介

居廉（西元一八二八–一九０四年），廣東番禺人。字士剛，號古泉，別號隔山老人、羅浮散人。居廉幼年即失怙恃，從兄居巢憐其才，曾授與花卉寫生之法，後又兼取惲壽平、宋光寶、孟覲乙等人的沒骨技法，成就一派新穎之寫生風格。時人遂以「居派」名之，或稱「隔山派」。　　本幅繪瓶花、水仙，除前景配置紅柿、蘋果、柑橘外，餘均和院藏另幅「花卉」無貳，兩畫相較尤能顯現居氏一貫之構圖理念。

Description

Chu Lien (style name Shih-kang; sobriquets Ku-ch’ uan, Ke-shang lau-jen, and Lo-fu san-jen) was a native of Fan-yu, Kwangtung. Losing both parents in his childhood, he learned techniques for depicting hsieh-sheng (painting from life) flowers and plants from his cousin Chu Ch’ao. Later he also combined the boneless method of painting practiced by Yun Shou-p’ing (1633-1690), Sung Kuang-pao, and Meng Chin-yi and started a new school of hsieh-sheng style painting. Contemporaries eventually called it the “Chu” school or the “Ke-shan” School. A vase of flowers and a narcissus plant constitute elements in the composition of this painting. Besides the red persimmons, apples, and Mandarin oranges arranged in the front of the scene, the composition is identical to another painting in our collection entitled “Flowers.” Compared with each other, viewers are especially able to comprehend Chu’s concept of composition.

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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