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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈初編（御書房），下冊，頁985-986
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁36
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收藏著錄 |
故宮書畫圖錄，第十六冊，頁363-370
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內容簡介（中文） |
趙孟堅（西元一一九九—一二六四年），字子固，號彝齋居士，寶慶二年（一二二六）進士，趙氏性情高邁，知識廣博，兼具貴族、士大夫、文人畫家的身份。善水墨白描水仙、蘭梅、竹石，清而不俗，秀而淡雅。著有《梅譜》傳世。現今傳世水仙有數本，皆是紙本水墨橫卷。此卷運筆尖細穩健，花葉隨意翻轉，暈染濃淡變化多，雖全用水墨，卻將花葉的色澤、質感真實表現出來，有「墨分五彩」之妙。
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內容簡介（英文） |
Chao Meng-chien, a chin-shih degree holder of 1226, was a lofty and scholarly member of the Sung imperial family. With his broad learning, he spanned the noble, scholar-official, and literati classes. He excelled at monochrome ink paintings of narcissi, orchids and plum blossoms, and bamboo and stones. His pure and extraordinary works were elegant and refined. Several surviving versions of narcissi are attributed to Chao Meng-chien. All are horizontal scrolls done in ink on paper. This one has precise and elegantly strong brushwork. The petals twist and turn at will, and the light and dark washes of ink vary. Though done only in ink, the lifelike features of the beautiful flowers shine forth. The beauty of ink truly “can represent all colors”.
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內容簡介（中文） |
趙孟堅（西元一一九九—一二六四年），字子固，為宋宗室。善畫水墨梅、竹、蘭、水仙，學揚無咎一派。
「水仙圖」存世有數本，均紙本水墨橫卷。運筆尖細穩健，並隨翻轉之勢，暈染濃淡變化。雖全用水墨，卻能將花葉的色澤、質感、厚度真實地表現出來，極有「墨分五彩」之妙。惟現存數本「水仙圖」中，究竟何者為趙氏真跡，學術界尚有不同看法，迄未獲得定論。
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內容簡介（中文） |
趙孟堅（1199- 約1264），字子固，為宋宗室。理宗寶慶間進士，官至朝散大夫嚴州守，是南宋末年兼具貴族、士大夫、文人三重身份的知名藝術家。能詩、善書，又擅長以水墨法寫梅、蘭、竹、石等，尤精白描畫水仙，風格秀雅脫俗，深獲時人推重。
〈水仙圖〉傳世有數本，均紙本水墨長卷。院藏此卷，雖僅描繪單一種花卉，但構圖時而繁密，時而疏朗，極盡變化之能。白描鉤線勁利流暢，並隨著葉片的翻轉，藉淡墨微染深淺，將花葉的色澤與質感，如實地呈現出來，極得「墨分五彩」之妙。(20110102)
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內容簡介（英文） |
Zhao Mengjian (style name Zigu) was a member of the Song imperial house. A Presented Scholar (jinshi) of the Baoqing era under Emperor Lizong, he served up to the post of Grand Master for Closing Court and Governor of Yanzhou. He was a famous late Song artist who a member of the nobility, a scholar-gentleman, and a literatus. Zhao was gifted at poetry and excelled at calligraphy, also specializing in ink renditions of plum blossoms, orchids, and bamboo and stones. He was especially gifted at “ink line” (baimiao) paintings of narcissus, his elegant and untrammeled style held in high esteem by contemporaries.
Several versions of Zhao’s narcissus paintings survive, all of them long handscrolls in ink on paper. This version in the Museum collection, though it depicts only one kind of flower, is exceptionally varied in terms of composition, appearing dense at times and sparse at others. The baimiao lines are strong yet fluid, twisting with the turns of the blades. Pale ink in subtle variations of light and dark washes bring out the hue and quality of the blossoms and blades. They appear as if before our very eyes, making this a masterpiece of “colors in monochrome ink.”(20110102)
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參考書目 |
1.〈宋趙孟堅水仙 卷〉，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84-87。
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參考書目 |
陳韻如，〈宋趙孟堅水仙 卷〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁146-151、279-281。
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