书体:

色彩:

设色

装裱形式:

册(推蓬装‧方幅式)

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

作者印记：南田
作者印记：寿平

题跋资料:

题跋类别：题跋；作者：王翬；题跋位置：本幅；款识：壬子十月既望。剑门王翬书。；书体：行书；全文：牡丹最易近俗。殆难下笔。如近世工徒。涂红抹绿。虽千花万蘂。总一形势。都无神明。惟北宋徐熙父子。赵昌王友之伦。创意既新。变态斯备。其赋色极妍。气韵极厚。盖能不守陈规。全师造化。故称传神。观南田此本。妍精没骨。得其变态。真可上追北宋诸贤。不仅凌跨有明陈陆数子已也。壬子十月既望。剑门王翬书。印记：王翬之印、石谷

主题:

主要主题：花草牡丹 

技法:

工笔 没骨 

参考资料:

收藏着录： 故宫书画录（卷六），第四册，页176-177 收藏着录： 故宫书画图录，第二十八册，页90-95 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44。2.〈清恽寿平花卉山水合册‧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275。3.本社，〈清恽寿平牡丹〉，《故宫文物月刊》，第50期（1987年5月），页1。4.〈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168。 5.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（西元一六三三－一六九０年），江苏武进人。初名格，字寿平，以字行，又字正叔，号南田，别号云溪外史，东园草衣等。诗文为毘陵六逸之首，画与清初四大家相埒，合称四王吴恽。 本幅为「恽寿平王翬花卉山水合册」之一开。没骨设色画赤、紫、白牡丹三枝，或正或侧，曲尽其态。全图赋色明丽鲜豔，但是却流露出一种清新俊逸，高雅脱俗之气质。 内容简介（英文）： This painting of three red, violet, and white peonies in the “boneless” wash style (some pictured from the front and some from the side) fully depicts the beauty of the flower. Extravagantly colored, the flowers still retain a fresh elegance and graceful air that is anything but vulgar. Considered the equal of the “Four Great Masters of the Ch’ing Dynasty,” Yün was one of the “Ssu Wang Wu Yun” or “ the Four Messrs. Wang, the Master Wu, and the Master Yun”--six of the most famous painters of the Ch’ing dynasty. He was the leading essayist and poet of the “Six Gentlemen of Pi-ling.” He was from Wu-chin in Kiangsu. He used his style name Shou-p’ing in place of Ko, his original name, and then changed his style name to Cheng-shu. His sobriquets were Nan-t’ien, Yun-his-wai-shih, and Tung-yuan-ts’ao-yi. 网页展示说明 恽寿平（1633-1690），原名格，字寿平，后以字行，江苏武进人。初善作山水，因自谦无力与王翬（1632-1717）争胜，遂改工花卉。画法承自徐崇嗣（10世纪末）之没骨法，又参以己意，风格独创，蔚为清代花卉画宗师。本幅选自〈恽寿平王翬花卉山水合册〉。以没骨设色法画红、白、紫三色牡丹各一株，姿态或正或侧或背，曲尽变化。赋色于明丽鲜豔中，散发出一股清新俊逸，高雅脱俗之气质。幅左王翬的题句，称许此作已经凌驾明代的陈淳、陆治，足可媲美北宋，可谓备极推崇。(20110102) 网页展示说明 Yun Shouping originally had the name Ge and the style name Shouping, by which he later went. A native of Wujin in Jiangsu, he at first excelled at landscape painting but later felt that he could not compete with the master Wang Hui (1632-1717), turning to flowers instead. His style can be traced all the way back to the "boneless" method of washes used by Xu Chongsi (fl. latter half of 10th c.), but with his own interpretation as well. With his tender and elegantly beautiful manner, Yun Shouping became a master of flower painting in the Qing dynasty praised by many. This leaf comes from "Album of Flowers and Landscapes." Using the "boneless" method of washes, it depicts three stalks with peony blossoms; one is red, one white, and the other purple. They are also shown in a variety of poses: from the front, side, and back. A fresh and outstanding character exudes from the gorgeous beauty of their bright colors, creating a lofty and otherworldly atmosphere. At the left is an inscription by Wang Hui, offering high praise for Yun Shouping, claiming that he surpassed Chen Chun and Lu Zhi of the Ming dynasty and was comparable to the Northern Song masters. (20110102) 网页展示说明 恽寿平（1633-1690）、本名は格、字は寿平、后に字で名を知られた。江苏武进の人。初めは山水画を善くしたが、王翬（1632-1717）には及ばないことを悟り、しだいに花卉画に転向した。その画法は徐崇嗣（10世纪末）の没骨法を継承する中に独自の工夫があり、独创性が感じられる。清代花卉画の大家。 本作は『恽寿平王翬花卉山水合册』に収录されている。赤、白、紫三色の牡丹が没骨法（轮郭线を用いない画法）で一株ずつ描かれている。一株は正面を向き、一株は横向き、もう一株は花の?を见せ、変化に富んでいる。明るく鲜やかな色彩の中にも清々しさが漂い、格调高く脱俗的な雰囲気がある。画面左に王翬の题句があり、本作は明代の陈淳、陆治を凌驾したと讃え、北宋时代の絵画にも匹敌すると绝賛している。 (20110102)