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清金廷標畫墨牡丹 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者金廷標
- 色彩水墨
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@150x52
- 質地本幅@#@紙
- 題跋資料作者款識@#@金廷標@#@本幅@#@臣金廷標恭繪@#@楷書@#@@#@題跋@#@愛新覺羅弘曆@#@戊戌（西元一七七八年）初夏御題。@#@行書@#@廷標雖作古。蹟夥禁中留。粘壁頻收拾。棄珍殊輩儔。花真春色奪。葉欲露華流。劉訓殺風景。卻稱水牯牛。戊戌（西元一七七八年）初夏御題。
- 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@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@嘉慶鑑賞@#@@#@鑑藏寶璽@#@寶笈三編@#@@#@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@#@宣統御覽之寶
- 主題其他主題@#@山水@#@奇石@#@@#@主要主題@#@花草@#@牡丹@#@@#@其他主題@#@花草@#@草
- 技法寫意@#@@#@皴法@#@斧劈皴
- 參考資料收藏著錄@#@石渠寶笈三編（延春閣），第五冊，頁2444@#@@#@收藏著錄@#@故宮書畫錄（卷八），第四冊，頁124@#@@#@收藏著錄@#@故宮書畫圖錄，第十三冊，頁281-282@#@@#@參考書目@#@1.〈清金廷標畫墨牡丹〉，收入國立故宮博物院編輯委員會編，《牡丹名畫特展圖錄》（臺北：國立故宮博物院，1987年四月初版），頁48。 2.〈清金廷標畫墨牡丹 軸〉，收入譚怡令、劉芳如、林莉娜主編《滿庭芳-歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁80-81。@#@@#@內容簡介（中文）@#@金廷標字士揆，烏程（浙江吳興）人，善人物，兼工花卉、山水。乾隆南巡，進白描羅漢冊，稱旨，召入內廷供奉。生卒年未詳，作品見於乾隆二十五年至三十二年間（一七六○–一七六七），乾隆辛丑（一七八一）清高宗題金廷標罱泥圖云：「廷標內廷昔供奉……。」依此題，金氏當卒於辛丑年以前。 墨繪牡丹五朵，三朵置於畫幅上端，一正一反一隱於葉隙間，下方兩朵一含苞一盛開，花枝偃仰，甚為生動。@#@@#@內容簡介（中文）@#@金廷標（活動於1760-1778），字士揆，浙江烏程（今湖州）人，兼工人物、山水、花卉。乾隆南巡，進呈白描羅漢稱旨，召入內廷供奉。根據畫上乾隆戊戌（1778）御題詩：「廷標雖作古。蹟夥禁中留。」故知金氏當卒於此年以前。 全幅式構圖的沒骨水墨寫生，繪牡丹三朵置於畫幅前方，一朵隱於葉隙間，花枝正側偃仰穿插極為生動。花瓣葉脈間留白，繪葉一葉三面，四方兼顧，轉折變化多。湖石皴法採小斧劈，以側鋒橫筆擦染，再用淡墨渲染，墨色富有層次。(20110102)@#@@#@內容簡介（英文）@#@ Jin Tingbiao (style name Shikui) was a native of Wucheng (modern Huzhou) in Zhejiang and skilled at painting figures, landscapes, and flowers. During the Southern Inspection Tour of the Qianlong Emperor (r. 1736-1795), he presented a painting of lohans for imperial review and was summoned to the court as an artist. According to the imperial inscription of poetry on this painting dated to 1778, “Though Tingbiao has passed, his many traces remain in the Forbidden [City],” it is known that he died sometime before that year. The entire composition of this painting is done in the “sketching from life” manner using “boneless” washes entirely in ink. The work depicts three blossoms of peonies in front, with one hidden among the leaves; the twisting and turning of the blossoms and stems intersect in a very lively manner. The blossom petals and leaf veins have been left blank, depicting the sides of the leaves and giving full consideration to all their angles with many different gestures. Small “axe-cut” texture strokes were used for the lake rock, the washes applied with applications of a horizontal brush tip followed by light washes of ink to impart rich layers to the ink tones.(20110102)@#@@#@內容簡介（英文）@#@Chin T’ing-piao was from Wu-ch’eng (Wu-hsing, Chekiang). He excelled at renditions of human figures and was also noted for his landscapes and flower paintings. He once gave one of his outline drawings of a lohan (a Buddhist ascetic) to the Ch’ien-lung Emperor when the latter was on an imperial tour in the south, and consequetly Chin was called to serve at court. Chin T’ing-piao has depicted five peonies: above, one is portrayed from the front, another from the back, while yet another is hidden among the leaves. Below are still two more; one facing up and the other down, one open and the other closed. All of them are depicted with full liveliness.
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