书体:

色彩:

水墨

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：文基珍藏
收传印记：新安孙氏珍藏
收传印记：白云堂

题跋资料:

题跋类别：作者款识；作者：李鱓；题跋位置：本幅；款识：一层墨笔一层台。知有仙人化蝶来。买尽洛阳千百种。何如此种四时开。乾隆二十一年岁在丙子（西元一七五六年）三月望日。复堂懊道人李鱓制于竹卥寓斋。；书体：行书；全文： 印记：鱓印

主题:

主要主题：花草牡丹 

技法:

写意 

参考资料:

收藏着录： 黄君璧先生捐赠文物特展目录，页35-36、49 参考书目： 1.〈清李鱓牡丹〉，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45。 内容简介（中文）： 李鱓（一六八六—一七六二）字宗扬，号复堂，又号懊道人。江苏兴化人。康熙五十年（一七一一）举人。官山东滕县知县，忤大吏归，花鸟画师蒋廷锡，又得高其佩传，供奉内廷数载。归退后，卖画扬州，为扬州八怪之一。本幅水墨画牡丹。画笔纵横，不拘绳墨，得自然天趣。幅上半题款，书法亦古朴，虽随意布置，别有佳趣。本幅为黄君璧先生捐赠。 内容简介（中文）： 李鱓（西元一六八六—一七六二年），江苏兴化人。字宗扬，号复堂，又号懊道人。康熙五十年（一七一一）举人。官山东滕县知县，忤大吏归。花鸟画师蒋廷锡，又得高其佩传，供奉内廷数载。归退后，卖画扬州，为扬州八怪之一。本幅水墨画牡丹，构图简明，画笔纵横，不拘绳墨，得自然天趣。幅上半题款书法古朴，虽随意布置，别有佳趣。此帧为黄君璧先生捐赠。 内容简介（英文）： Li Shan, a native of Xinghua, Jiangsu, went by the style name Zongyang and the sobriquets Futang and Aodaoren. He became a Provincial civil service candidate in 1711 and served as prefect in Tengxian, Shandong, but returned home after coming into conflict with his superiors. Li’s bird-and-flower painting was modeled after Jiang Tingxi’s and influenced that of Gao Qipei. For a period of time, Li also served at court. After retiring, he sold paintings in Yangzhou, becoming known as one of the Eight Eccentrics there. This portrayal of a peony in ink is done in a simple composition and painted in a loose, relaxed manner that does not adhere rigidly to the rules, thus capturing the naturalness of the flower. The calligraphy inscribed in the upper half of the painting is archaic and, though appearing casually placed, the writing adds measurably to the overall effect. This work was donated to the National Palace Museum by Mr. Huang Chun-pi. 内容简介（英文）： Li Shan was a native of Hsing-hua, Kiangsu. He passed the civil exam in 1711 and served as prefect in T’eng-hsien, Shantung. A conflict with his superior led to his retirement from this post. Li Shan’s bird and flower painting was modeled after Chiang T’ing-hsi and influenced by Kao Ch’i-p’ei. For a period of time Li Shan served in the court. After retiring, he sold paintings in Yang-chou, where he became known as one of the Eight Eccentics of Yang-chou. This ink potrayal of a peony is painted in a loose, relaxed manner, and captures the naturalness of the flower. The calligraphy of the inscription is antique and direct. Though casually placed on the scroll, the writing adds measurably to the overall effect of the painting. This painting was presented to the museum by Huang Chün-pi.