书体:
色彩:
浅设色装裱形式:
轴创作时间:
文字类型:
质地:
本幅纸释文:
印记资料:
收传印记:辰园宝藏题跋资料:
题跋类别:作者款识;作者:虚谷;题跋位置:本幅;款识:閒卧云溪学种花。虚谷。;书体:行书;全文: 印记:虚谷书画主题:
主要主题:花草菊技法:
写意参考资料:
收藏着录: 蔡辰男先生捐赠书画目录,页59、125 参考书目: 1.刘芳如,〈清虚谷菊花〉,收入刘芳如主编,《十九世纪末期中西画风的感通之二--国立故宫博物院所藏同时期名家作品展》(台北:国立故宫博物院,1993年初版),页34。 内容简介(中文): 虚谷(1821—1896),安徽歙县人。俗姓陈,亦有记载谓姓朱名虚白。太平天国时,意有感触,遂披缁入山,不念佛号,惟以书画自娱。擅画山水、花卉、蔬果、禽虫,运用干笔偏锋,冷峭新奇,别具一格。尤擅以破笔作松鼠、金鱼等,草草写意,生动超逸。本幅为画丛菊盛放,花瓣以干笔双钩,菊叶则以浓淡披点,墨韵燥润相间,深浅相融,衬以干枝黄蕊,倍觉清雅秀逸。蔡辰男先生捐赠于民国73年。(20110204) 内容简介(中文): 虚谷(西元一八二一—一八九六年),安徽歙县人。俗姓陈,亦有记载谓姓朱名虚白。太平天国时,意有感触,遂披缁入山,不念佛号,惟以书画自娱。擅画山水、花卉、蔬果、禽虫,运用干笔偏锋,冷峭新奇,别具一格。尤擅以破笔作松鼠、金鱼等,草草写意,生动超逸。 本幅为蔡辰男先生捐赠,画丛菊盛放,花瓣以干笔双钩,菊叶则以浓淡披点,墨韵燥润相间,深浅相融,衬以干枝黄蕊,倍觉清雅秀逸。 内容简介(中文): 虚谷(西元一八二三-一八九六年),安徽歙县人,本姓朱,名怀仁。太平天国时,出家为僧,往来扬州、苏州、上海等地,以书画维生。长于花卉、鸟禽,风格冷逸,在海派名家中,独树一帜。 本幅画丛菊盛放,以干笔钩花瓣,浓淡墨画叶,墨韵燥润相间,深浅交融,衬以简略的渴笔枯枝,鹅笔点蕊,倍觉清雅秀逸。 本幅为蔡辰男先生捐赠。 内容简介(中文): 虚谷(西元一八二一-一八九六年),安徽歙县人。俗姓陈,亦有记载谓姓朱名虚白。太平天国时,意有感触,遂披缁入山,不礼佛号,惟以书画自娱。擅画山水、花卉、蔬果、禽虫,运用干笔偏锋,冷峭新奇,别具一格。尤擅以破笔作松鼠、金鱼等,草草写意,生动超逸。 本幅画丛菊盛放,花瓣以干笔双钩,菊叶则以浓淡披点,墨韵燥润相间,深浅相融,衬以干枝黄蕊,倍觉清雅秀逸。 内容简介(英文): Falling victim to the T’ai-p’ing rebellion of the mid-19th century, Hsü-ku reportedly retreated to the mountains to become a Buddhist monk. Not adhering to religious practices, he did painting and calligraphy for a living. With a dry bursh and oblique strokes, Hsü-ku depicted a variety of subject matter in a distinctive and lively style. Here, Hsü-ku has arranged chrysanthemums in clusters and rendered the outlines of the petals with a dry brush. The leaves are depicted with thick and light dispersed ink and a combination of deep and light shades, giving the ink a harmonious quality. The painting is further complemented by dry yellow pigment to denote the blossom centers, imbuing the work a sense of clarity and grace. 内容简介(英文): Hsü-ku, native to She-hsien in Anhwei Province, originally went by the name Chu Huai-jen. In the mid-19th century, he took the tonsure and became a monk. He traveled between Yangchow, Soochow, and Shanghai, making a living through painting. He excelled at birds-and –flowers using a reserved yet spirited style that stood out in the Shanghai School. This work, donated by Mr. Ts’ai Chen-nan, depicts clusters of chrysanthemums in bloom. With dry ink, the artist outlined the petals and then used light and dark ink for the leaves, creating full harmony between rich and dry ink tones. Dark and light, deep and shallow fuse for a background of dry brushwork so that the dashes of yellow in the blossoms stand out, imbuing an elegant touch. 内容简介(英文): Xugu, a native of Shexian, Anhui, originally went by the surname Zhu and is recorded as having the name Xubai. Disturbed by the Taiping rebellion in the mid-19th century, he chose to take the tonsure and head to the mountains. He was not a practicing Buddhist but instead did painting and calligraphy for his own amusement. He excelled at painting landscapes, plants and flowers, fruits and vegetables, and birds and insects, using a slanted dry brush to create a sharp and novel approach much in his own style. He particularly excelled at painting squirrels and goldfish with a blunt brush, the cursive “sketching ideas” manner being quite animated and untrammeled. This work, donated to the National Palace Museum by Mr. Cai Zhennan, depicts clusters of chrysanthemums in bloom. The artist outlined the petals with dry ink, while the leaves were done with light and dark ink, creating full harmony between the wet and dry tones. Both light and dark fuse for a background of dry brushwork so that the dashes of yellow in the blossoms stand out, imbuing a pure and elegant touch to the work. 内容简介(英文): Xugu, native of Shexian in Anhui, originally went by the name Zhu Huairen. In the mid-nineteenth century, disturbed by the events of the Taiping Rebellion, he chose to take the tonsure and become a monk and head for the mountains. He was not a practicing Buddhist, instead doing painting and calligraphy for his own amusement. He excelled at depicting landscapes, flowers, fruits and vegetables, birds, and insects using a slanted dry brush to create a novel and incisive approach much in his own style. He particularly excelled at painting squirrels and goldfish with blunt brushwork, his cursive “sketching ideas” manner being quite animated and untrammeled.This work depicts clusters of chrysanthemums in bloom. The artist outlined the petals with dry ink, while the leaves were done with light and dark ink, creating harmony between the wet and dry tones. Both light and dark fuse for a background of dry brushwork so that the dashes of yellow for the blossoms stand out, imbuing pure elegance and a refined untrammeled quality to this painting.Mr. Ts’ai Ch’en-nan donated this work to the National Palace Museum in 1984.(20110204)