| 文物統一編號 |
故畫000593N000000000
|
| 作品號 |
故畫00059300000 |
| 品名 |
明周之冕畫葡萄松鼠 軸
Squirrel on a Grapevine |
| 分類 |
繪畫 |
| 作者 |
周之冕,Zhou Zhimian |
| 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 |
清高宗 |
乾隆御覽之寶 |
| 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 |
走獸 |
鼠 |
松鼠 |
| 主要主題 |
果蔬 |
葡萄 |
|
| 次要主題 |
水中動植物 |
荇藻 |
|
| 次要主題 |
花草 |
紅蓼 |
|
| 次要主題 |
花草 |
蓮荷 |
|
| 類別 |
參考資料 |
| 內容簡介 |
周之冕（西元一五四二－一六○六年），江蘇長洲人。字服卿，號少谷。書工古隸。善畫花鳥，家中蓄養各種禽鳥，能詳細觀察飲啄飛止的動作，因此用筆很有生意。
畫蘋花紅蓼，雜以蒲荷。葡萄老幹一枝，糾纏盤結，松鼠據籐而伏。全畫不用墨勾，是很好的沒骨設色花卉，筆意頗為生動。
|
| 內容簡介 |
周之冕（西元一五四二－一六○六年），長洲人(今江蘇蘇州)。字服卿，號少谷。善畫花鳥，於家中蓄養各種禽鳥，詳細觀察其飲啄飛止的動作，因此筆下特富生意。
本幅前景畫水塘裡，荷葉與紅蓼、荇藻相傍而生，上方則見葡萄結實累累，枝幹糾纏盤結，松鼠據籐而伏。全畫採用「鉤花點葉法」，兼工帶寫，形象於真實中，兼得筆墨活潑生動之致。
(20121016)
|
| Description |
Zhou Zhimian (style name Fuqing, sobriquet Shaogu), a native of Changshu in Jiangsu, excelled at bird-and-flower subjects, raising a large number of fowl at home in order to study their various habits and movements, making his paintings therefore very lifelike.
In the foreground of this painting is a pond, where lotuses and polygonum mingle with rushes and water plants. Above, a squirrel grabs hold of a tangled and knotted grapevine and is perched there. This work is done in the technique of “outlined flowers and dabbed leaves.” Combining fine-line and sketchy brushwork, the forms appear realistic and the use of brush and ink quite lively and animated.
(20121016)
|
| Description |
Chou Chih-mien, style name Fu-ch’ing and sobriquet Shao-ku, was a native of Ch’ang-shu in Kiangsu province. He was a skilled calligrapher in the ancient clerical style and a good painter of birds and flowers. In order to study their habits and movements, he kept a rich variety of birds in his home. His paintings were consequently very lifelike.
Marsilia and polygonum mingle with rushes and lotus. Above, a squirrel perches on a tangled grapevine. There are no ink outlines in the painting; everything has been painted with the mo-ku, or “boneless”, technique in colors. This painting is full of life.
|
| 收藏著錄 |
石渠寶笈三編（御書房），第七冊，頁3121
|
| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁440-441
|
| 收藏著錄 |
故宮書畫圖錄，第八冊，頁197-198
|
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