书体:

色彩:

水墨

装裱形式:

卷

创作时间:

文字类型:

汉文

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：徐坚曾观
收传印记：邓尉老樵

题跋资料:

题跋类别：作者款识；作者：孙克弘；题跋位置：本幅；款识：华亭雪居弘制；书体：行书；全文： 印记：允执父、汉阳太守章

主题:

主要主题：树木竹 主要主题：花草水仙 主要主题：山水奇石 主要主题：花草梅（白．红．蜡梅） ；其他主题：山水溪涧、湍泉 

技法:

白描 写意 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页2015 收藏着录： 故宫书画录（卷四），第二册，页232 收藏着录： 故宫书画图录，第十九册，页325-328 内容简介（中文）： 孙克弘（西元一五三三－一六一一年），又作克宏，江苏华亭人。字允执，号雪居。一生勤习书法绘画，天资既高，又能用功，对于古人广师博学。野外一株树，花正盛开着。画法上看，树、花、岩石的姿态，都是不加修饰，把眼中所看到的画出来。随意点染，没有五颜六色，却正是原野的一角。形象逼似大自然，也兼得笔墨的韵味。 内容简介（中文）： 孙克弘（西元一五三三－一六一一年），又作克宏，江苏华亭人。字允执，号雪居。生于世宗嘉靖十二年，死在神宗万历三十九年。一生勤习书法绘画，天资既高，又能用功，对于古人广师博学，他的山水学马远，云山学米芾，花鸟学徐熙、赵昌，水墨竹石学文同，兰草学郑思肖，佛道人物学梁楷，都颇有成就。晚年隐居在东郭草堂，又专心一意于画梅。孙氏具有临古的根基，再运笔写生，故形象逼似自然，兼得笔墨的韵味。 内容简介（英文）： FlowersSun K’o-hung (1533-1611)Ming Dynasty Sun K’o-hung (style name Ch’ung-chih, sobriquet Hsüeh-chü) was a native of Hua-t’ing, Kiangsu. He was endowed with a natural sharpness of wit and diligently studied painting and calligraphy all his life. Eclectic in his choice of models, he took a different master for each style of painting: Ma Yüan for landscape, Mi Fu for snowy mountains, Hsü Hi and Chao Ch’ang for bird and flower paintings, Wen T’ung for ink bamboo and rocks, Cheng Ssu-suo for orchids and grasses, and Liang K’ai for Buddhist and Taoist figures. In old age he lived in retirement at the “thatched hut east of the wall” and devoted himself completely to painting plums. Because he combined careful study of the ancients with observation of nature, his paintings possess both versimilitude and good technique. 内容简介（英文）： FlowersSun K’o-hung (1533-1611)Ming Dynasty Sun K’o-hung, a native of Kiangsu, was a diligent student of painting and calligraphy. Possessing great talent as well as skill, he studied the styles of various ancient masters. In this painting, a thorny bush in a rustic setting appears in full bloom. In terms of technique, the representation of the bush, flowers, and rocks is complete and unadulterated. In other words, no element has been left out or adorned. Brushed and washed with abandon, little color was used, thereby enhancing the rustic effect. Thus, the forms appear naturalistic, but they also posses the flow and harmony of brush and ink.