书体:

色彩:

设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：宣统御览之宝
收传印记：宋致审定

题跋资料:

题跋类别：作者款识；作者：恽寿平；题跋位置：本幅；款识：锦障曾遮洛浦尘。凤箫还忆旧华春。北方谁唱延年曲。犹有倾城独立人。拟北宋徐崇嗣设色。恽寿平。；书体：行书；全文： 印记：叔子、寿平、玄赏

主题:

主要主题：花草牡丹 

技法:

工笔 没骨 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页743-744 收藏着录： 故宫书画录（卷六），第四册，页131 收藏着录： 故宫书画图录，第二十四册，页58-61 参考书目： 1.〈清恽寿平牡丹〉，收入国立故宫博物院编辑委员会编，《牡丹名画特展图录》（台北：国立故宫博物院，1987年四月初版），页43-44。2.童文娥，〈「天子之宝 — 台北国立故宫博物院的收藏」展品系列(四) — 绘画〉，《故宫文物月刊》，第247期（2003年10月），页51。3.〈清　恽寿平　牡丹〉，收入谭怡令、刘芳如、林莉娜主编，《满庭芳　历代花卉名品特展》（台北：国立故宫博物院，2010年十二月初版一刷），页202。 4.邱馨贤，〈为花传神韵—恽寿平的没骨花卉〉，《故宫文物月刊》，第337期（2011年4月），页58-67。 内容简介（中文）： 恽寿平（西元一六三三－一六九○年），江苏武进人。诗文为毘陵六逸之首，画与清初四、吴历王相埒，合称四王吴恽。擅画山水，后自觉无力与王翬争胜，而专攻花卉。以徐崇嗣没骨法参以己意，独创风格，成为清代花卉画宗师。此幅为「摹古册」之第三幅，画牡丹二枝，一朵含苞待放，一朵灼灼盛开。全作以没骨设色为之，直接以色染画，复加勾画叶脉筋络，极具柔活潇洒、典雅明丽之气息。 内容简介（英文）： Peonies Yün Shou-p'ing (1633-1690) Ch'ing Dynasty From Wu-chin in Kiangsu, Yün was the leading essayist and poet of the “Six Gentlemen of P'i-ling.” Considered the equal of the “Four Wangs,” he is one of the “Ssu Wang Wu Yün: the Four Messrs. Wang, the Master Wu, and the Master Yün.” Originally a master of landscapes, Yün came to feel he could not equal Wang Hui in this genre and consequently specialized in paintings of flowers and plants. He incorporated the “boneless” wash method of the Northern Sung painter Hsü Ch'ung-ssu into his own repertoire and thus created a new style, of which he became known as a master of flower painting. Yün Shou-p'ing has here depicted two peonies, one not quite opened and the other in full bloom. Washes of color have been directly applied in the “boneless” method and the leaf veins are outlined. The results are radiantly lifelike. 网页展示说明 清代花卉画宗师恽寿平（1633-1690）作画兼采写生态度与师法古人。此幅选自「摹古册」，以北宋画家徐崇嗣所创「没骨法」参以己意画牡丹二枝，一朵含苞待放，一朵灼灼盛开。恽氏曾谓画花卉欲极生动之致，需各尽姿态变化，并要让观者似觉画上有花香拂面而来。全作以没骨设色为之，摒弃墨笔钩勒，直接用彩叠色渍染，再加钩画筋络轮廓，用色鲜明纯净，风格独创。(20110102) 网页展示说明 Yun Shouping, the Qing master of flower painting, combined an attitude in painting of "sketching from life" along with methods of the ancients.This leaf from Yun Shouping's "Album of Imitating Antiquity" depicts two stalks of peonies (one in full bloom and the other as a bud) in the "boneless" technique of washes originally developed by the Northern Song painter Xu Chongsi (fl. latter half of 10th c.) combined with the artist's own method. Yun Shouping once said that to paint flowers with utmost liveliness, one must depict them in as many poses and situations as possible while trying to make viewers almost feel they can smell their fragrance. The entire work here is done in "boneless" washes, in which lines of ink for outlining the forms are abandoned. Layers of washes were directly applied, to which colors were added for the veins and outlines. The use of colors is bright and pure, giving the work an original style all its own. (20110102) 网页展示说明 清代花卉画の大家恽寿平（1633-1690）は写生だけでなく先人の画法も取り入れて创作に取り组んだ。本作は『摹古册』に収录されている。北宋时代の画家徐崇嗣が生み出した「没骨法」（轮郭线を用いない画法）に独自の工夫を加えて二枝の牡丹を描いている。一つはほころびかけたつぼみ、もう一つは见事な大轮の花を咲かせている。恽寿平は、生き生きとした花卉を描くには様々に変化する姿を巧みに捉え、その絵を観る者に、花の香りが漂ってくるかのように错覚させるほどでなければならないとした。全体的に没骨によって着色され、墨を使った轮郭线がない。直接色を重ねて染め上げ、そこに叶脉の线を描き加えている。鲜明な色合いが清々しく、独特の趣がある。 (20110102)