文物統一編號 |
故畫002762N000000000
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作品號 |
故畫00276200000 |
品名 |
清余省東籬秀色 軸
Elegant Colors of the Eastern Fence |
分類 |
繪畫 |
作者 |
余省 |
創作時間 |
清高宗乾隆九年(1744) |
數量 |
一軸' |
位置 |
尺寸(公分) |
詩塘 |
33.6x67.8 |
本幅 |
84.3x67.8 |
題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
作者款識 |
余省
印記 expand_more
|
本幅 |
乾隆九年(西元一七四四年)九月。臣余省奉敕臨生恭畫。 |
行楷書 |
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|
題跋 |
梁詩正
印記 expand_more
|
本幅 |
臣梁詩正恭和 |
行書 |
秋容誰寫照。筆妙化工施。欲釀泉中味。猶傳籬下詩。雁横寒露外。人瘦晚風時。憶許賡題句。重陽不負期。重陽前一日。奉命書和題菊詩。臣梁詩正恭和。 |
|
題跋 |
張照
印記 expand_more
|
本幅 |
臣張照恭和 |
行書 |
猶輕甘谷隗。肯比苧蘿施。有影皆成畫。無言亦可詩。金風玉露下。蟬去鴈來時。手把離騷客。清香若與期。臣張照恭和。 |
|
題跋 |
勵宗萬
印記 expand_more
|
本幅 |
臣勵宗萬恭和 |
行書 |
鉛華都洗淨。冷豔傲威施。貌入王維畫。如吟靖節詩。香留殘墨裏。影怯薄寒時。一自邀宸詠。芳名萬古期。臣勵宗萬恭和。 |
|
題跋 |
張若靄
印記 expand_more
|
本幅 |
臣張若靄恭和 |
行書 |
五色秋呈艷。霜豪巧設施。寒香彭澤韻。晚節魏公詩。纈額安黃候。緇衣賜紫時。酈泉通太液。咫尺與仙期。臣張若靄恭和。 |
|
題跋 |
清高宗
印記 expand_more
|
詩塘 |
|
行書 |
東籬秀色。 |
|
題跋 |
清高宗
印記 expand_more
|
詩塘 |
御題 |
行書 |
如是空非色。誰教鉛粉施。能知花外趣。堪作畫中詩。露朵盈盈際。風枝灑灑時。落英如可啜。何必學安期。御題。 |
|
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 |
重華宮鑑藏寶 |
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 |
樂善堂圖書記 |
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 |
|
草 |
類別 |
參考資料 |
內容簡介 |
余省(活動於西元一七四一-一七五七年),江蘇常熟人。字曾三,號魯亭。善畫山水、花鳥、蟲魚、蘭竹等。其父珣,弟穉俱能繪事。
繪菊花填色甚穠,特重其花色與立體之表現,畫葉則隨意點染。花葉畫法筆趣相異,頗有兼取中西繪技之意。
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內容簡介 |
余省(活動於1741-1757),江蘇常熟人。字曾三,號魯亭。善畫山水、花鳥蟲魚等。其父珣,弟穉亦俱善畫。
本幅作於清高宗乾隆九年(1744),為對花寫生之作。結合沒骨與鉤勒雙重技法,鉤勒繪黃、紫二色菊花,特重從花心到瓣尖的花色轉換,與兩種花形的立體表現。沒骨葉片邊緣水暈乾處質感甚為逼真,花朵部分精心鉤勒,葉片卻率性點染,筆趣相異,全幅風格清雅疏秀,頗有兼取中西繪事之意。(20110102)
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Description |
Yu Xing, a native of Changshu in Jiangsu, went by the style name Zengsan and the sobriquet Luting. He excelled at painting landscapes, birds-and-flowers, and grasses-and-insects. Both his father (Xun) and his younger brother (Zhi) also excelled at painting.
This work, done in the ninth year of the Qianlong Emperor’s reign (1744), is in the “sketching from life” tradition. It combines the techniques of “boneless” washes and outlines filled with colors to depict two types of yellow and purple chrysanthemums. Particular emphasis is placed on the gradations of color from the center of the blossoms to the tips of the petals, giving volumetric effect to the two shapes of blossoms. The quality of the haloed area where the “boneless” color washes along the edges of the leaves dried is particularly realistic, while the blossoms themselves have been meticulously outlined. The leaves, however, were rendered in a more straightforward manner, creating differences in the brushwork. The style throughout the painting, nonetheless, has a pure elegance and clear beauty, combining aspects of both Chinese and Western painting. “Eastern Fence” is an allusion to the ancient poet Tao Yuanming (ca. 356-427), who was also famous for his love of chrysanthemums.(20110102)
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Description |
Yu Hsing was a native of Ch'ang-shu, Kiangsu. His dates are uncertain, but his extant works fall into the years between 1741 and 1757. He came from a family of painters and was able in all genres.
The color and pose of the chrysanthemums in this painting are exquisite, emphasis being laid on coloration and three-dimensional effect. The leaves are done with a free wash within their outlines, and the leaves and petals are carefully distinguished. The technique seems to be a combination of both Western and Chinese practices.
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收藏著錄 |
石渠寶笈初編(重華宮),下冊,頁812
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收藏著錄 |
故宮書畫錄(卷八),第四冊,頁121
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收藏著錄 |
故宮書畫圖錄,第十三冊,頁105-106
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參考書目 |
1.〈清余省東籬秀色 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178-179。
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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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