| 文物統一編號 |
故畫000754N000000000
|
| 作品號 |
故畫00075400000 |
| 品名 |
清柳遇畫鶯粟 軸
Poppies |
| 分類 |
繪畫 |
| 作者 |
柳遇 |
| 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 |
宣統帝 |
宣統鑑賞 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆鑑賞 |
| 鑑藏寶璽 |
宣統帝 |
無逸齋精鑑璽 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
養心殿鑑藏寶 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
花草 |
罌粟 |
|
| 類別 |
參考資料 |
| 內容簡介 |
柳遇，清康乾間江蘇吳縣人，字仙期。工人物，精密生動，布置樹石欄廊，幽花細草，以及玩物器皿，色色佳妙，不亞於仇英。
設色畫鶯粟一叢，傅彩艷麗，用筆精勁，以較毘陵惲氏，雅韻差為不及耳。
|
| 內容簡介 |
柳遇，字仙期，清代乾隆年間（1736 -1795）江蘇吳縣人。特長於臨摹古代名跡，人譽其僅亞於仇英（約1494-1552）。畫人物精密生動，布置樹石欄廊、幽花細草、玩物器皿等，俱皆佳妙。
罌粟（鶯粟）的種子是製作鴉片和鎮靜劑的原料，夏季開花，單生枝頭，花形大而豔麗，有紅、紫、白等色，植株具備高度的觀賞價值，故為畫家所喜。本幅以鉤勒填彩法畫繪罌粟花，各色具足，賦彩絢爛華美至極，堪為清代工筆花卉的代表，惟較諸惲南田（1633-1690），雅韻稍嫌不及爾。(20110102)
|
| Description |
Liu Yu (style name Xianqi) was a native of Wuxian in Jiangsu under the Qianlong emperor (r. 1736-1795). He was especially skilled at copying the works of ancient masters, with people praising him as second only to Qiu Ying (ca. 1494-1552) of the Ming dynasty. Liu’s figure paintings were precise and vivid, the arrangement of trees and rocks, railings and corridors, serene flowers and delicate grasses, and antiquities and vessels all being marvelous.
The seedpod of the poppy is a source of raw material for opium and natural sedatives. The plant blooms in summer with a single blossom both large and beautiful, coming in such colors as red, purple, and white. The plant is highly valued also for its beauty, making it a natural focus of attention among painters. This depiction of poppies done in the technique of outlines filled with colors shows the full hues and opulent beauty of the blossoms. It can be considered a representative of fine-line flower painting of the Qing dynasty, ranking only slightly lower than that of Yun Shouping (1633-1690) in terms of elegant harmony.(20110102)
|
| Description |
Liu Yu, tzu (style name) Hsien-ch’i, was a native of Suchou in Kiangsu province. He excelled in figure painting, achieving a sense of vitality in his figures. His compositions, trees, rocks, balustrades, flowers, grasses, thinkets, utensils, and his use of color were all equal to those of the Ming Dynasty painter Ch’iu Ying (fl. ca. 1490-1552).
The application of color in this painting to depict a cluster of poppies is fine and beautiful. The use of the brush is delicate yet forceful. The artist’s elegance compares with that of Yun Shou-p’ing.
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| 收藏著錄 |
石渠寶笈初編（養心殿），上冊，頁672
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| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁548
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| 收藏著錄 |
故宮書畫圖錄，第十一冊，頁1-2
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| 參考書目 |
1.〈清柳遇畫鶯粟 軸〉，收入譚怡令、劉芳如、林莉娜主編，《滿庭芳 歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁146-147。
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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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