| 文物統一編號 |
故畫002890N000000000
|
| 作品號 |
故畫00289000000 |
| 品名 |
清沈全墨牡丹 軸
Peonies in Ink |
| 分類 |
繪畫 |
| 作者 |
沈全 |
| 數量 |
一軸 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
花草 |
牡丹 |
|
| 主要主題 |
器用 |
花器 |
花盆、花架 |
| 次要主題 |
花草 |
玉蘭 |
|
| 次要主題 |
花草 |
海棠（木） |
|
| 其他主題 |
花草 |
|
草 |
| 類別 |
參考資料 |
| 內容簡介 |
沈全，生卒年不詳。清末的《韜養齋筆記》載有一「沈全」，為江蘇人，字璧如，供奉內廷，善仕女、花鳥，不知是否為其人。圖中以牡丹為主花，搭配木海棠與木蘭。由於木蘭也名玉蘭，而牡丹搭配玉蘭、海棠，則有「玉堂富貴」之吉祥寓意。全圖以水墨敷染出如西洋素描般光影立體之感。
|
| 內容簡介 |
沈全，生卒年不詳。清末《韜養齋筆記》載有一「沈全」，為江蘇人，字璧如，供奉內廷，善仕女、花鳥，不知是否為其人。
盆內植栽牡丹，花瓣繁複，碩大華麗；另以玉蘭、海棠搭配，三種花材取其諧音，有「玉堂富貴」之吉祥寓意。四足模製印花盆，表面飾有雙龍捧壽字，純以墨色敷染花器，然具西洋素描光影立體感。畫中黑漆描金方杌為典型清式宮廷家具，高束腰，開有魚門洞透光，直棖腿帶托泥，空缺處冰裂紋製作用心。(20110102)
|
| Description |
Although the dates for Shen Quan are unknown, Notes from the Taoyang Studio of the late Qing dynasty mentions a “Shen Quan” as a native of Jiangsu who went by the style name of Biru. He served at the court and excelled at painting ladies and bird-and-flower subjects. It is uncertain, however, if he is the same artist as the one who did this work.
In the planter depicted in this painting is a luxuriant peony bush, the complex petals forming large, opulent blossoms. It is also accompanied by magnolia and crab apple, the flowers of these three plants coexisting harmoniously to suggest the auspicious metaphor of “wealth and position in halls of jade.” The four-footed planter with impressed floral patterning is also decorated with paired dragon motifs holding the character for longevity (shou). Though the vessel is rendered completely in various tones of ink wash, it has the effect of shading and volume suggestive of Western-style sketching. The square black-lacquered stool with gold trim is a typical form of Qing dynasty court furniture. It has a high waist with decorative openings and long legs with runners, the space between which is rendered as an ice-crackle pattern.(20110102)
|
| Description |
Shen Ch’uan’s birth and death dates are unknown, but a late Ch’ing record in Notes from the T’ao-yang Studio mentions a “Shen Ch’uan” from Kiangsu who went by the style name Pi-ju. He served the court and excelled at painting ladies as well as birds and flowers, but it is unclear if he is the same artist who did this work, which mainly shows peonies complemented by begonia and magnolia blossoms. The peony as “King of Flowers” and its combination with two other “noble” flowers gives this work a play on words serving as a metaphor for the auspicious expression, “Wealth and Rank of the Halls of Nobility.” This work was done with washes of monochrome ink to suggest the three-dimensional effect of Western drawing.
|
| 收藏著錄 |
故宮書畫錄（卷八），第四冊，頁129
|
| 收藏著錄 |
故宮書畫圖錄，第十四冊，頁177-178
|
| 參考書目 |
1.〈清沈全墨牡丹 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212-213。
|
| 參考書目 |
林莉娜，〈清沈全墨牡丹 軸〉，收入林莉娜主編《百卉清供-瓶花與盆景畫特展》（臺北：國立故宮博物院，2018.10），頁206-211。
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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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修護紀錄
