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清陳字文房集錦 冊
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者陳字,Chen Zi
- 裝裱形式冊(摺裝)
- 數量一冊：十二開（本幅十二開二十四幅）
- 集叢號-類型總集
- 典藏尺寸本幅@#@26.5x30.4
- 質地本幅@#@絹
- 印記資料作者印記@#@陳字印（重十）@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@嘉慶鑑賞@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@寶笈三編@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@宣統御覽之寶
- 參考資料收藏著錄@#@石渠寶笈三編（延春閣），第五冊，頁2143@#@@#@收藏著錄@#@故宮書畫錄（卷六），第四冊，頁102-103@#@@#@收藏著錄@#@故宮書畫圖錄，第二十四冊，頁158@#@@#@參考書目@#@1.劉芳如，〈清陳字嬰戲鍾馗〉，收入國立故宮博物院編輯委員會編，《迎歲集福 — 院藏鍾馗名畫特展》（臺北：國立故宮博物院，1997年二月初版一刷），頁154-156。 2.王耀庭，〈陳字蜥蜴捕蜂〉，收入國立故宮博物院編輯委員會編，《草蟲畫特展圖錄》（臺北：國立故宮博物院，1986年初版），頁70。 @#@@#@內容簡介（中文）@#@ 陳字（西元一六三四年－？），浙江諸暨人，陳洪綬子。初名儒禎，小名鹿頭，號小蓮。書畫綽有父風，性格孤傲，與世俗不相協調，客遊所到，動輒與人違逆，而所得亦隨手散盡。康熙五十二年（一七一三）前後，以窮困死，年約八十。著有《小蓮客遊詩》。本冊十二開，舉凡山水花果、爬蟲貍貓，筆墨線條皆精細平整，頗富其父畫風。在構圖造型上充滿天真稚拙之趣，盡現畫家不落於俗的巧思。(20120103)@#@@#@內容簡介（中文）@#@陳字（西元一六三四－？），浙江諸暨人，陳洪綬子。初名儒禎，小名鹿頭，號小蓮。書畫綽有父風，性格孤傲，與世俗不相協調，客遊所到，動輒與人違逆，而所得亦隨手散盡。康熙五十二年（一七一三）前後，以窮困死，年約八十。著有小蓮客遊詩。本冊十二開，舉凡山水花果、爬蟲貍貓，筆墨線條皆精細平整，頗富其父畫風。在構圖造型上，充滿天真稚拙之趣，盡現畫家不落於俗的巧思。@#@@#@內容簡介（英文）@#@Ch'en Tzu, a native of Chekiang, was the son of the famous painter Ch’en Hung-shou. In painting and calligraphy, he followed after his father. Proud and aloof by nature, he avoided visitors and left few paintings. He died of poverty sometime around 1713 with a collection of poetry to his name. This album is composed of 20 leaves and includes various subject matter, including the genres of landscape, flower, fruit, insect, and cat. The strokes are even, delicate, and accurate, much in the manner of Ch'en's father. In terms of the compositions, they reveal an intentionally naïve simplicity. This indicates that the artist avoided the skilled techniques of conventional painting for the pure beauty of brush and ink. @#@@#@內容簡介（英文）@#@ Chen Zi (given name Ruzhen; nickname Lutou; style names Wuming, Mingru; sobriquet Xiaolian) was the son of the famous artist Chen Hongshou. Their styles of painting and calligraphy were very similar. Aloof by nature, Chen Zi did not get along with others, using up all his savings and dying of poverty around 1713 at around 80. His Poetry of Xiaolian the Stranger survives. This album consists of 12 leaves featuring an assortment of landscape, flower-and-fruit, and animal subjects. The lines of the brushwork are all exquisite and level, much in his father’s style. In terms of composition and forms, they are full of innocent simplicity, revealing the artist’s skill at avoiding conventions. (20120103)
- 地圖
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