书体:

色彩:

设色

装裱形式:

册(折装‧方幅式)

创作时间:

清世宗雍正七年（1729）

文字类型:

质地:

本幅绢

释文:

印记资料:

题跋资料:

题跋类别：作者款识；作者：黄慎；题跋位置：本幅；款识：雍正七年（西元一七二九年）秋月闽中黄慎写。；书体：草书；全文： 印记：黄、慎

主题:

主要主题：花草茶花 主要主题：花草梅（白．红．蜡梅）白梅

技法:

写意 工笔 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页157 收藏着录： 故宫书画图录，第二十八册，页128-131 参考书目： 1.刘芳如，〈清黄慎梅花山茶〉，收入国立故宫博物院编辑委员会编，《画梅名品特展》（台北：国立故宫博物院，1991年元月初版），页100。 内容简介（中文）： 黄慎(一六八七─一七六八尚在)，福建宁化人，后徙居扬州。字躬懋，又字恭寿、菊庄，号瘿瓢子、老瘦。早年失怙，为奉母遂从上官周(一六六五─﹖)学画。自习画以来，每思建立一己之风格而不得。一日行于市街，忽忆及昔见唐怀素(七二五─七七七尚在)草书之豪放不羁，甚得己意，乃将之融入画幅，遂成自家格局，而为﹁扬州八怪﹂之一。 黄慎之花鸟画，深受明徐渭(一五二一─一五九三)之影响，下笔挥洒奔放。本幅选自﹁黄慎王旼序荣集绘﹂册第十二开，画山茶、绿萼梅自幅左伸出，枝干盘曲，为其作品中较具写实面貌者。仅在枝桠之间，见其一惯率意之书法意趣。幅中花之用色以朱砂、白粉为主，叶于绿中调墨，色泽十分沈稳，极具古朴之风貌。据传，黄慎作画所用之颜料，完全亲手调制，从不假手他人，倘此说属实，则毋怪其作品之色调，倍显独特之个人风味。山茶以朱膘为底，上染朱砂，白粉加藤黄点心。梅以白粉为主，上染淡绿，萼点绿。叶以绿加墨，斡以墨加赭石，倍觉沈厚。比之其向见极具个性之笔，挥洒到不识的地步，此含蓄许多，但枝干仍显其本色，豪放不羁，有老辣之意。花似实物，叶与干已不以写实为目的，不在表现向背等真实感，却极具运笔之意。 内容简介（中文）： 黄慎（西元一六八七－一七六八年尚在），福建宁化人。字躬懋，又字恭懋，一字恭寿，号瘿瓢。家贫无以为生，遂学画。方十八、九岁，寄身萧寺，昼为画，夜无烛，乃从佛堂灯火读书。其艺既擅，终鬻画扬州。画能开创笔墨新趣，而为「扬州八怪」之一。本幅选自「黄慎王旼序荣集绘」册第十二开，画山茶、绿萼梅自幅左伸出，枝干盘曲，用色沈稳，有古朴之意。而钩画花叶、枝干之间，比之其向见作品，虽较具中规中矩之笔法，却仍在写干之时，显现其率意之处。 内容简介（英文）： Camellias and Plum BlossomsHuang Shen (1687-after 1768)Ch’ing Dynasty Huang Shen (style name Kung-mou and Kung-shou; sobriquet Ying-p’iao) was a native of Ning-hua, Fukien. His family was poor with no means of support, so he began studying to paint as a youth. At the age of about 18, he took up residence at a Buddhist monastery, painting by daylight and studying at night by the lamp light in the image hall. His art began to be known and he finally ended up selling paintings in Yangchow. He created a fresh and innovative painting style, becoming later known as one of the “Eight Eccentrics of Yangchow.” This album leaf is a depiction of camellias and plum blossoms. The plum blossoms have green calyxes and are on convoluted branches that stretch into the picture plane from the right. The use of color is very consistent and has an air of archaic plainness. Compared to other Huang Shen paintings, the brushwork in the outlines of the flowers, leaves, and branches in this painting is more systematic and controlled. However, some areas of the painting, such as in the depiction of the trunk, reveal more expressive brushwork by Huang Shen.