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元趙孟頫臨黃筌蓮塘圖 軸
基本資訊
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- 色彩淺設色
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- 典藏尺寸本幅@#@52.4x29.7@#@@#@詩塘@#@18.4x29.7
- 質地本幅@#@紙@#@@#@詩塘@#@紙
- 題跋資料題跋@#@清高宗@#@本幅@#@乙酉秋御題@#@行書@#@滿天秋意老蓮塘。枯葉低垂獨鳥翔。法眼設非題自董。繪神誰識本從黃。心疑野侶雲猶外。興寓風人水一方。盈尺幀間淡且遠。無邊軒際颯生涼。乙酉秋御題。@#@@#@題跋@#@清高宗@#@本幅@#@庚寅新秋御筆@#@行書@#@風動鯉魚波滿塘。枯荷葉上獨禽翔。別傳秋意斯臨趙。盡得風流彼勝黃。藻荇蕭踈筆幾點。水天幼渺尺盈方。欣於五合同書法小幅旋成趁爽涼。展閱此幀。愛其筆意瀟落。輒仿為之。並用舊題韻題什。因書此本圖中。以識所自。庚寅新秋御筆。@#@@#@題跋@#@董其昌@#@詩塘@#@董其昌題@#@行書@#@趙文敏臨黃筌蓮塘圖。董其昌題。
- 印記資料作者印記@#@趙氏子昂@#@@#@鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@乾隆鑑賞@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@石渠定鑑@#@@#@鑑藏寶璽@#@寶笈重編@#@@#@鑑藏寶璽@#@寧壽宮續入石渠寶笈@#@@#@鑑藏寶璽@#@樂壽堂鑑藏寶@#@@#@鑑藏寶璽@#@古希天子@#@@#@鑑藏寶璽@#@五福五代堂古稀天子寶@#@@#@鑑藏寶璽@#@壽@#@@#@鑑藏寶璽@#@八徵耄念之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@鑑藏寶璽@#@宣統鑑賞@#@@#@鑑藏寶璽@#@無逸齋精鑑璽
- 主題主要主題@#@花草@#@蓮荷@#@枯荷@#@@#@主要主題@#@翎毛@#@鶺鴒@#@@#@次要主題@#@水中動植物@#@荇藻
- 技法雙鉤
- 參考資料收藏著錄@#@石渠寶笈續編（寧壽宮），第五冊，頁2751 @#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁162 @#@@#@收藏著錄@#@故宮書畫圖錄，第四冊，頁59-60@#@@#@內容簡介（中文）@#@趙孟頫（西元一二五四至一三二二年），宋宗室，居吳興，字子昂，號松雪道人。仕元，至翰林學士承旨，封魏國公，諡文敏。詩文清遠，書畫為後世所宗。 殘荷之筆，老辣瀟脫。鶺鴒小巧有生趣，用筆細膩。點出秋塘蕭瑟之景。@#@@#@內容簡介（英文）@#@Chao Meng-fu lived in Wu-hsing in Chekiang province. His style name was Tzu-an and his sobriquet was Sung-hsueh tao-jen. Although a scion of the Sung imperial family, he nevertheless served the Sung's conquerors in the succeeding Yuan dynasty. He attained the rank of Hanlin Academician and was later enfeoffed as the Duke of Wei. Chao was known also for his pellucid, penetrating poetry and prose, and his painting and calligraphy became models for later generations of painters. In this painting a bird perches on a dried lotus leaf. The painting has a carefree ambience, yet it is painted with great vigor. The bird is cleverly painted and has a life-like quality. The style of brushwork is fine and smooth. The style use by Chao Meng-fu in this painting heightens and lonely feeling of the solitary lotus pool.
- 地圖
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