清馮箕仕女四屛　軸　人面桃花

Ladies

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	贈畫000850N000000004
作品號	贈畫00085000004
品名	清馮箕仕女四屛　軸　人面桃花 Ladies
分類	繪畫
作者	馮箕,Feng Ji
數量	一軸

位置	尺寸(公分)
本幅	130x29.7
全幅	194x39.3

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

馮箕印記 expand_more

本幅

人面桃花相映紅。第六橋雲湖外史馮子揚畫于吳門十二紅珊館。

行書

印主	印記
馮箕	馮箕私印

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	花草	桃花
其他主題	山水	奇石

技法	技法細目
人物衣紋描法(勻稱線條)
工筆
苔點
皴法

類別	參考資料
內容簡介	馮箕（生卒年不詳），字子揚，號栖霞、霞客，錢塘人（今浙江杭州），嘉慶間客居蘇州留雲館。最善畫人物、仕女，設色雅潔，雖柔媚而不俗，書風則與惲壽平相近。本幅為胡家源先生捐贈，共四條屏，本次展出春、秋二軸。分繪桃花仕女與喜鵲雙姝。畫中人物的面容及體態均纖細秀麗，衣紋線描則屈曲柔婉，充分展現出自明代以降，女性以嬴弱為美的時代風尚。 (20121016)
Description	Feng Ji (style name Ziyang, sobriquets Qixia and Qike), a native of Qiantang (modern Hangzhou, Zhejiang), lived at the Liuyun Hall in Suzhou during the Jiaqing era (1796-1820). Feng excelled most at figures and especially ladies, using pure and elegant colors. Though gentle and beautiful, they are not vulgar. His calligraphy is similar to Yun Shouping’s. This work, donated to the Museum by Hu Chia-yuan, consists of 4 narrow panels, with those for spring and autumn on display here. The two depict a lady with peach blossoms and ladies with magpies. The faces and poses of the figures are beautifully elegant and slender, the drapery lines turning subtly. They reflect contemporary standards for dainty feminine beauty popular since the Ming dynasty. (20121016)

類別

參考資料

內容簡介

馮箕（生卒年不詳），字子揚，號栖霞、霞客，錢塘人（今浙江杭州），嘉慶間客居蘇州留雲館。最善畫人物、仕女，設色雅潔，雖柔媚而不俗，書風則與惲壽平相近。本幅為胡家源先生捐贈，共四條屏，本次展出春、秋二軸。分繪桃花仕女與喜鵲雙姝。畫中人物的面容及體態均纖細秀麗，衣紋線描則屈曲柔婉，充分展現出自明代以降，女性以嬴弱為美的時代風尚。 (20121016)

Description

Feng Ji (style name Ziyang, sobriquets Qixia and Qike), a native of Qiantang (modern Hangzhou, Zhejiang), lived at the Liuyun Hall in Suzhou during the Jiaqing era (1796-1820). Feng excelled most at figures and especially ladies, using pure and elegant colors. Though gentle and beautiful, they are not vulgar. His calligraphy is similar to Yun Shouping’s. This work, donated to the Museum by Hu Chia-yuan, consists of 4 narrow panels, with those for spring and autumn on display here. The two depict a lady with peach blossoms and ladies with magpies. The faces and poses of the figures are beautifully elegant and slender, the drapery lines turning subtly. They reflect contemporary standards for dainty feminine beauty popular since the Ming dynasty. (20121016)

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