| 文物統一編號 |
故畫001073N000000000
|
| 作品號 |
故畫00107300000 |
| 品名 |
明孫克弘畫花卉 卷
Flowers |
| 分類 |
繪畫 |
| 作者 |
孫克弘 |
| 數量 |
一卷 |
| 作品語文 |
漢文 |
| 位置 |
尺寸(公分) |
| 本幅 |
31.7x300.8 |
| 隔水一 |
9.5 |
| 隔水二 |
9.5 |
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
徐堅 |
徐堅曾觀 |
| 收傳印記 |
徐堅 |
鄧尉老樵 |
| 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 |
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 |
山水 |
奇石 |
|
| 主要主題 |
花草 |
水仙 |
|
| 主要主題 |
花草 |
梅（白．紅．蠟梅） |
|
| 主要主題 |
樹木 |
竹 |
|
| 其他主題 |
山水 |
溪澗、湍泉 |
|
| 類別 |
參考資料 |
| 內容簡介 |
孫克弘（西元一五三三－一六一一年），又作克宏，江蘇華亭人。字允執，號雪居。一生勤習書法繪畫，天資既高，又能用功，對於古人廣師博學。
野外一株樹，花正盛開著。畫法上看，樹、花、岩石的姿態，都是不加修飾，把眼中所看到的畫出來。隨意點染，沒有五顏六色，卻正是原野的一角。形象逼似大自然，也兼得筆墨的韻味。
|
| 內容簡介 |
孫克弘（西元一五三三－一六一一年），又作克宏，江蘇華亭人。字允執，號雪居。生於世宗嘉靖十二年，死在神宗萬曆三十九年。一生勤習書法繪畫，天資既高，又能用功，對於古人廣師博學，他的山水學馬遠，雲山學米芾，花鳥學徐熙、趙昌，水墨竹石學文同，蘭草學鄭思肖，佛道人物學梁楷，都頗有成就。晚年隱居在東郭草堂，又專心一意於畫梅。孫氏具有臨古的根基，再運筆寫生，故形象逼似自然，兼得筆墨的韻味。
|
| Description |
Flowers
Sun K’o-hung (1533-1611)
Ming Dynasty
Sun K’o-hung (style name Ch’ung-chih, sobriquet Hsueh-chu) was a native of Hua-t’ing, Kiangsu. He was endowed with a natural sharpness of wit and diligently studied painting and calligraphy all his life. Eclectic in his choice of models, he took a different master for each style of painting: Ma Yuan for landscape, Mi Fu for snowy mountains, Hsu Hi and Chao Ch’ang for bird and flower paintings, Wen T’ung for ink bamboo and rocks, Cheng Ssu-suo for orchids and grasses, and Liang K’ai for Buddhist and Taoist figures. In old age he lived in retirement at the “thatched hut east of the wall” and devoted himself completely to painting plums. Because he combined careful study of the ancients with observation of nature, his paintings possess both versimilitude and good technique.
|
| Description |
Flowers
Sun K’o-hung (1533-1611)
Ming Dynasty
Sun K’o-hung, a native of Kiangsu, was a diligent student of painting and calligraphy. Possessing great talent as well as skill, he studied the styles of various ancient masters.
In this painting, a thorny bush in a rustic setting appears in full bloom. In terms of technique, the representation of the bush, flowers, and rocks is complete and unadulterated. In other words, no element has been left out or adorned. Brushed and washed with abandon, little color was used, thereby enhancing the rustic effect. Thus, the forms appear naturalistic, but they also posses the flow and harmony of brush and ink.
|
| 收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁2015
|
| 收藏著錄 |
故宮書畫錄（卷四），第二冊，頁232
|
| 收藏著錄 |
故宮書畫圖錄，第十九冊，頁325-328
|
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