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鑑藏宝玺：嘉庆御览之宝题跋资料:
题跋类别：题跋；作者： ；题跋位置：本幅；款识：无；书体：行书；全文：滕昌祐笔妙主题:
主要主题：花草牡丹 ；其他主题：山水奇石技法:
工笔 苔点参考资料:
收藏着录： 石渠宝笈三编（延春阁），第三册，页1366 收藏着录： 故宫书画录（卷五），第三册，页29 收藏着录： 故宫书画图录，第一册，页115-116 参考书目： 1.〈五代‧后蜀滕昌祐牡丹〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页200。2.本社，〈五代前蜀滕昌祐牡丹〉，《故宫文物月刊》，第50期（1987年5月），页1。 内容简介（中文）： 滕昌祐（活动于西元九世纪后期），吴人，随僖宗避黄巢乱入蜀，与刁光胤同居四川。其画风亦属工丽一路，随类赋彩，用色鲜艳，擅绘鹅、折技花果及蝉雀。黄筌画鸟雀师刁光胤，花竹则师滕昌祐，滕刁二人，对北宋院体花鸟画之发展，皆有功焉。本幅旧传为五代滕昌祐之作，绘湖石牡丹，左右、繁疏、高下相对，布置得体。用墨笔钩勒花瓣，复填色于内，以白粉点蕊。叶则先涂色再钩出叶脉。湖石笔意疏澹，再以石绿提醒墨苔，全幅于工谨中别有流丽之意趣。 内容简介（中文）： 滕昌祐（约活动于九世纪后期），吴（今江苏苏州）人，随僖宗避黄巢乱入蜀（八八一），用色鲜艳，擅绘鹅、折技花果及蝉雀。本幅绘湖石牡丹，花叶笔触变化多端，花瓣先以墨笔钩勒再填色，并以白粉点饰花蕊，湖石笔意疏澹，构图右繁左简，全幅于工谨中别有流丽的意趣。本幅旧题为五代滕昌祐之作，从画风看，成画时间当在明代中晚期。(20110405) 内容简介（英文）： Teng Changyou, a native of Wu (modern Suzhou, Jiangsu), followed Emperor Xizong to Sichuan to avoid rebellions in the late Tang (881). Using gorgeous colors, he specialized in painting geese, broken-stem flowers and fruit, and cicadas and peacocks. This painting depicts a lake rock and peonies, the brushwork of the flowers and leaves with many variations. The petals were first outlined in ink and then filled with colors, the stamens dotted with white. The rocks are done in clear strokes, the composition complex to the right and simpler to the left. The scroll has an air of beauty and refinement in the fine brushwork. Judging from the style of this old attribution to Teng Changyou, it was probably done in the middle to late Ming dynasty (1368-1644).(20110405) 内容简介（英文）： T'eng Ch'ang-yu, a native of Wu (modern Chekiang province), followed Emperor Hsi-tsung (r. 874-880) to Szechwan province during the disturbances at the end of the T'ang dynasty and took up residence with another artist, Tiao Kuang-yin. His painting style is meticulous and beautiful, rich in detail and color. He excelled in painting geese, flowers, fruit, birds, and insects. The famous bird-and-flower painter Huang Ch'üan learned to paint birds from Tiao Kuang-yin and flowers and bamboo from T'eng Ch'ang-yu. Both Tiao and T'eng contributed greatly to the development of bird-and-flower painting in the Northern Sung (960-1126) Painting Academy. This scroll, formerly attributed to the Five dynasty master T'eng Ch'ang-yu, is a depiction of a Lake T'ai rock and peonies. The rock and peonies are masterfully balanced with open space, resulting in a harmonious composition. Light ink was used to outline the petals of the peonies, and colors were then added of fill in the outlines. The stamens are dotted with white powder. The leaves were first colored, and the veins were then outlined in ink. The rock, painted with clear brushstrokes, is adorned with light green moss dots. The entire scroll imparts an air of beauty with its craftsmanship.
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