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清鄒一桂畫梨花夜月 軸
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- 典藏尺寸本幅@#@125.7x55.2
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- 題跋資料作者款識@#@鄒一桂@#@本幅@#@臣鄒一桂恭畫@#@楷書
- 印記資料鑑藏寶璽@#@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@#@養心殿鑑藏寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶
- 主題主要主題@#@山水@#@夜景（月景）@#@月景@#@@#@主要主題@#@花草@#@梨花
- 技法沒骨
- 參考資料收藏著錄@#@石渠寶笈續編（養心殿），第三冊，頁1205@#@@#@收藏著錄@#@故宮書畫錄第四冊（卷八），頁103@#@@#@收藏著錄@#@故宮書畫圖錄，第十一冊，頁265-266@#@@#@內容簡介（中文）@#@ 鄒一桂（西元一六八六至一七七二年），江蘇無錫人。字原褒，號小山。又號讓卿，晚號二知老人。雍正五年進士，歷官禮部侍郎，加尚書銜。精擅花卉，並通達畫理，著有小山畫譜。 本幅繪梨花一幹，由畫幅左上方垂探出枝，枝梢布葉生花，極有條理。梨花由含苞至全綻，或正或側，曲盡其態。花樹後，一輪明月由暗影中托出，益發顯出梨花的清明之姿。畫法乃仿自惲壽平沒骨法；花瓣直接用色點染出形彩，葉脈筋絡再略加線條鈎畫，極為柔和典雅。 @#@@#@內容簡介（中文）@#@鄒一桂（西元一六八六－一七七二年），字原褒，號小山，江蘇無錫人。雍正五年（一七二七）進士，歷官禮部侍郎，為清初宮廷花卉名家，且精通畫理，著有《小山畫譜》。 梨花主幹由畫幅右上方垂探出枝，條暢自如，布葉生花，曲盡其態，樹後暗影中托出明月一輪，更現梨花明淨韻致。師惲壽平沒骨技法，以色點染花瓣形彩，線條鈎畫葉脈筋絡，然畫風較惲工整精緻，別具宮廷品味。(20110405)@#@@#@內容簡介（英文）@#@ Zou Yigui (style name Yuanbao, sobriquet Xiaoshan) was a native of Wuxi, Jiangsu. A Presented Scholar (jinshi) of 1727, he served up to Vice Minister of Rites. Also a famous flower painter at the early Qing court, his works are masterful and orderly. He left behind Painting Manual of Xiaoshan. Here a peach tree branch hangs from the upper right, bending naturally and adorned gracefully with leaves and blossoms in detail. Behind the branch with shadows is a bright moon, further enhancing the blossoms’ clear, pure harmony. With the “boneless” washes of Yun Shouping, colors were used for the petals and forms, with strokes demarcating the leaf outlines and veins. The style is deliberate with the detail and refinement of the court manner.(20110405)@#@@#@內容簡介（英文）@#@Tsou I-kuei (style name Yuan-pao; sobriquets ‘Little Mountain’ and Jang-ch’ing) was a native of Wu-hsi, Kiangsu. In 1727 he took his Advanced Degree, and eventually served as vice-president of the Ministry of Rites. He excelled in flower painting, and in addition was well-versed in the principles of painting, authoring a book on painting theory, Hsiao-shan Hua-p’u. The branch of a flowering peach hangs downward from the right-hand corner of the composition, leaves and flowers emerging all the way to its tapering ends. The blossoms burst forth in varying degree, from new buds to fully open blooms; some are askew and others depicted frontally, in a very poetic arrangement. Behind the peach tree, a bright, full moon shines, bathing the natural beauty of the blossoms in pale light, complementing their delicacy. The brush work, similar to Yun Shou-p’ing’s, is in the “boneless” manner. The flowers are shaped directly by their color, while the leaves are veined and outlined. The whole scene was rendered in a tender and elegant fashion.
- 地圖
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