| 文物統一編號 |
故畫002674N000000000
|
| 作品號 |
故畫00267400000 |
| 品名 |
清錢維城畫洋菊 軸
Chrysanthemums |
| 分類 |
繪畫 |
| 作者 |
錢維城 |
| 數量 |
一軸 |
| 位置 |
尺寸(公分) |
| 本幅 |
112.7x57.5 |
| 全幅 |
234.2x79 |
| 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 |
清高宗 |
石渠定鑑 |
| 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 |
乾清宮鑑藏寶 |
| 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 |
寶笈重編 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
花草 |
菊 |
|
| 其他主題 |
花草 |
|
|
| 類別 |
參考資料 |
| 內容簡介 |
錢維城（西元一七二○－一七七二年），江蘇武進人。字宗盤，號茶山，晚號稼軒。乾隆乙丑（一七四五年）狀元，仕至工部侍郎。初從陳書學花卉，後改畫山水。折枝菊花一叢，用筆極工穩而有力，設色穠艷，重用鉛粉。雖出陳書之門，不無鄒一桂影響。
|
| 內容簡介 |
錢維城（1720-1772），江蘇武進人。字宗盤，號茶山，晚號稼軒。乾隆乙丑（1745）狀元，仕至工部侍郎。初從女畫家陳書（1660-1736）學花卉，後改作山水。
本幅畫菊花五種，奼紫嫣紅，花形各異。用筆工致，穩健有力，設色穠艷。花心點蕊如同畫龍點睛，尤顯精神。同時以色塊線條營造花瓣舒捲與葉片老嫩向背的視覺效果。雖師陳書，卻化古樸醇老為細勁靈活與鮮妍明媚，似受詞臣畫家鄒一桂（1686-1772）影響。(20110102)
|
| Description |
Qian Weicheng, a native of Wujin in Jiangsu, went by the style name Zongpan and the sobriquets Chashan and Jiaxuan. He came in first place in the imperial examinations in 1745 and went on to serve as Vice Minister of Works. At first he studied flower painting from the woman artist Chen Shu (1660-1736), but later he turned to landscapes.
This work depicts five varieties of chrysanthemums beautiful and luxuriant in all manners of form. The brushwork is fine and even, both steady and powerful, while the colors are luxuriant and beautiful. The centers of the blossoms have just the right touch to give life and notable spirit to the painting. At the same time, the patches of color and lines have the visual effect of creating the appearance of petals extending forth as well as old and tender leaves curving back. Although having studied Chen Shu’s style, the simple archaism and maturity have been transformed by Qian Weicheng into fine strength and nimble spirit along with fresh and beautiful colors, similar to the influence of the poet-official and court artist Zou Yigui (1686-1772).(20110102)
|
| Description |
Ch'ien Wei-ch'eng was a native of Wu-chin in Kiangsu Province. His style name was Tsung-p'an, his sobriquets were Ch'a-shan and Chia-hsüan. He received the Chuang-yüan degree in 1745 and later entered the court as an official. He first studied flower painting with Ch'en Shu (1660-1736), but later turned to landscapes.
A single bending branch carries a cluster of chrysanthemums. The brushwork is precise but forceful. The colors are thick and attractive and especially heavy with lead white. Although Ch'ien Wei-ch'eng’s style evolved from Ch'en Shu, it reflects as well the influence of Tsou I-kuei (1686-1772).
|
| 收藏著錄 |
石渠寶笈續編（乾清宮），第二冊，頁747
|
| 收藏著錄 |
故宮書畫錄（卷八），第四冊，頁113
|
| 收藏著錄 |
故宮書畫圖錄，第十二冊，頁205-206
|
| 參考書目 |
1.〈清錢維城畫洋菊 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176-177。
|
| 參考書目 |
蘇雅芬，〈清錢維城畫洋菊 軸〉，收入蘇雅芬主編《皇帝的移動花園──清代宮廷花卉畫》（臺北：國立故宮博物院，2024.07），頁154-155、157。
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