跳到主要內容區塊
:::
清虛谷菊花 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者虛谷
- 色彩淺設色
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@110.3x31.4@#@@#@全幅@#@197.6x48.5
- 質地本幅@#@紙
- 題跋資料作者款識@#@虛谷@#@本幅@#@閒臥雲溪學種花。虛谷。@#@行書
- 印記資料收傳印記@#@辰園寶藏
- 主題主要主題@#@花草@#@菊
- 技法寫意
- 參考資料收藏著錄@#@蔡辰男先生捐贈書畫目錄，頁59、125@#@@#@參考書目@#@1.劉芳如，〈清虛谷菊花〉，收入劉芳如主編，《十九世紀末期中西畫風的感通之二－－國立故宮博物院所藏同時期名家作品展》（臺北：國立故宮博物院，1993年初版），頁34。 @#@@#@內容簡介（中文）@#@虛谷（1821—1896），安徽歙縣人。俗姓陳，亦有記載謂姓朱名虛白。太平天國時，意有感觸，遂披緇入山，不念佛號，惟以書畫自娛。擅畫山水、花卉、蔬果、禽蟲，運用乾筆偏鋒，冷峭新奇，別具一格。尤擅以破筆作松鼠、金魚等，草草寫意，生動超逸。 本幅為畫叢菊盛放，花瓣以乾筆雙鉤，菊葉則以濃淡披點，墨韻燥潤相間，深淺相融，襯以乾枝黃蕊，倍覺清雅秀逸。 蔡辰男先生捐贈於民國73年。(20110204)@#@@#@內容簡介（中文）@#@虛谷（西元一八二一—一八九六年），安徽歙縣人。俗姓陳，亦有記載謂姓朱名虛白。太平天國時，意有感觸，遂披緇入山，不念佛號，惟以書畫自娛。擅畫山水、花卉、蔬果、禽蟲，運用乾筆偏鋒，冷峭新奇，別具一格。尤擅以破筆作松鼠、金魚等，草草寫意，生動超逸。 本幅為蔡辰男先生捐贈，畫叢菊盛放，花瓣以乾筆雙鉤，菊葉則以濃淡披點，墨韻燥潤相間，深淺相融，襯以乾枝黃蕊，倍覺清雅秀逸。 @#@@#@內容簡介（中文）@#@虛谷（西元一八二三－一八九六年），安徽歙縣人，本姓朱，名懷仁。太平天國時，出家為僧，往來揚州、蘇州、上海等地，以書畫維生。長於花卉、鳥禽，風格冷逸，在海派名家中，獨樹一幟。 本幅畫叢菊盛放，以乾筆鉤花瓣，濃淡墨畫葉，墨韻燥潤相間，深淺交融，襯以簡略的渴筆枯枝，鵝筆點蕊，倍覺清雅秀逸。 本幅為蔡辰男先生捐贈。 @#@@#@內容簡介（中文）@#@虛谷（西元一八二一－一八九六年），安徽歙縣人。俗姓陳，亦有記載謂姓朱名虛白。太平天國時，意有感觸，遂披緇入山，不禮佛號，惟以書畫自娛。擅畫山水、花卉、蔬果、禽蟲，運用乾筆偏鋒，冷峭新奇，別具一格。尤擅以破筆作松鼠、金魚等，草草寫意，生動超逸。 本幅畫叢菊盛放，花瓣以乾筆雙鉤，菊葉則以濃淡披點，墨韻燥潤相間，深淺相融，襯以乾枝黃蕊，倍覺清雅秀逸。 @#@@#@內容簡介（英文）@#@Falling victim to the T’ai-p’ing rebellion of the mid-19th century, Hsu-ku reportedly retreated to the mountains to become a Buddhist monk. Not adhering to religious practices, he did painting and calligraphy for a living. With a dry bursh and oblique strokes, Hsu-ku depicted a variety of subject matter in a distinctive and lively style. Here, Hsu-ku has arranged chrysanthemums in clusters and rendered the outlines of the petals with a dry brush. The leaves are depicted with thick and light dispersed ink and a combination of deep and light shades, giving the ink a harmonious quality. The painting is further complemented by dry yellow pigment to denote the blossom centers, imbuing the work a sense of clarity and grace. @#@@#@內容簡介（英文）@#@Hsu-ku, native to She-hsien in Anhwei Province, originally went by the name Chu Huai-jen. In the mid-19th century, he took the tonsure and became a monk. He traveled between Yangchow, Soochow, and Shanghai, making a living through painting. He excelled at birds-and –flowers using a reserved yet spirited style that stood out in the Shanghai School. This work, donated by Mr. Ts’ai Chen-nan, depicts clusters of chrysanthemums in bloom. With dry ink, the artist outlined the petals and then used light and dark ink for the leaves, creating full harmony between rich and dry ink tones. Dark and light, deep and shallow fuse for a background of dry brushwork so that the dashes of yellow in the blossoms stand out, imbuing an elegant touch. @#@@#@內容簡介（英文）@#@Xugu, a native of Shexian, Anhui, originally went by the surname Zhu and is recorded as having the name Xubai. Disturbed by the Taiping rebellion in the mid-19th century, he chose to take the tonsure and head to the mountains. He was not a practicing Buddhist but instead did painting and calligraphy for his own amusement. He excelled at painting landscapes, plants and flowers, fruits and vegetables, and birds and insects, using a slanted dry brush to create a sharp and novel approach much in his own style. He particularly excelled at painting squirrels and goldfish with a blunt brush, the cursive “sketching ideas” manner being quite animated and untrammeled. This work, donated to the National Palace Museum by Mr. Cai Zhennan, depicts clusters of chrysanthemums in bloom. The artist outlined the petals with dry ink, while the leaves were done with light and dark ink, creating full harmony between the wet and dry tones. Both light and dark fuse for a background of dry brushwork so that the dashes of yellow in the blossoms stand out, imbuing a pure and elegant touch to the work. @#@@#@內容簡介（英文）@#@ Xugu, native of Shexian in Anhui, originally went by the name Zhu Huairen. In the mid-nineteenth century, disturbed by the events of the Taiping Rebellion, he chose to take the tonsure and become a monk and head for the mountains. He was not a practicing Buddhist, instead doing painting and calligraphy for his own amusement. He excelled at depicting landscapes, flowers, fruits and vegetables, birds, and insects using a slanted dry brush to create a novel and incisive approach much in his own style. He particularly excelled at painting squirrels and goldfish with blunt brushwork, his cursive “sketching ideas” manner being quite animated and untrammeled. This work depicts clusters of chrysanthemums in bloom. The artist outlined the petals with dry ink, while the leaves were done with light and dark ink, creating harmony between the wet and dry tones. Both light and dark fuse for a background of dry brushwork so that the dashes of yellow for the blossoms stand out, imbuing pure elegance and a refined untrammeled quality to this painting. Mr. Ts’ai Ch’en-nan donated this work to the National Palace Museum in 1984.(20110204)
- 地圖
引用資訊
本網站使用Cookies收集資料用於量化統計與分析，以進行服務品質之改善。請點選"接受"，若未做任何選擇，或將本視窗關閉，本站預設選擇拒絕。進一步Cookies資料之處理，請參閱本站之隱私權宣告。