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清高鳳翰大富貴圖 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者高鳳翰
- 色彩設色
- 裝裱形式軸
- 創作時間清高宗乾隆五年（1738）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@133.6x74@#@@#@全幅@#@232x78.4
- 質地本幅@#@紙
- 題跋資料作者款識@#@高鳳翰@#@本幅@#@山人作畫買胭脂。寫出洛陽第一枝。艷向三生石畔種。三多富貴賦新詩。乾隆五年（西元一七四０年）庚申麥秋寫於竹西亭中。五十八歲老人翰左手并題。@#@草書
- 印記資料收傳印記@#@白雲堂
- 主題主要主題@#@花草@#@牡丹
- 技法工筆
- 參考資料收藏著錄@#@黃君璧先生捐贈文物特展目錄，頁41-42、50@#@@#@內容簡介（中文）@#@高鳳翰（1683－1748），字西園，號南村，晚號南阜。早歲即揚名文壇，工書畫，畫花卉尤奇逸。好藏硯石，亦善刻印。晚年病痺，用左手揮灑，筆愈蒼辣。 此幀是高氏五十八歲之作，畫牡丹盛開，紅白相映。當時其右手已殘，無論是畫作或是畫幅上的款識，都以左手完成。全作筆墨隨意，不拘成法；款識的書法運筆瀟灑，氣韻流動，觀其技藝實不輸右手。 黃君璧先生捐贈於民國74年。(20110204)@#@@#@內容簡介（中文）@#@高鳳翰（西元一六八三－一七四八），字西園，號南村，晚號南阜。官徽州績溪知縣。早歲即揚名文壇，工書畫，畫花卉尤奇逸。好藏硯石，亦善刻印。晚年病痺，用左手揮灑，筆愈蒼辣。本幅畫牡丹盛開，紅白相映，筆墨頗隨意。款署左手畫，可知南阜，雖病右手，然不廢畫業，以左手畫之，觀畫技不輸右手，高氏可謂畫壇奇人之一。本幅為黃君璧先生捐贈。 @#@@#@內容簡介（中文）@#@高鳳翰（西元一六八三—一七四八年），字西園，號南村，晚號南阜。早歲即揚名文壇，工書畫，畫花卉尤奇逸。好藏硯石，亦善刻印。晚年病痺，用左手揮灑，筆愈蒼辣。 此幀是高氏五十八歲之作，畫牡丹盛開，紅白相映。當時其右手已殘，無論是畫作或是畫幅上的款識，都以左手完成。全作筆墨隨意，不拘成法；款識的書法運筆瀟灑，氣韻流動，觀其技藝實不輸右手。本幅為黃君璧先生捐贈。 @#@@#@內容簡介（英文）@#@Gao Fenghan, a native of Shandong province, was a scholar-official. His literary talents were recognized at an early age, and he was also skilled as a painter and a calligrapher. Late in life, however, he was stricken with partial paralysis. From that time on, he used his left hand to paint and write, resulting in the unique appearance of his brushwork. This painting depicts peonies in full bloom. Red and white compete in splendor, borne from a brush without inhibition or restraint. Though the inscription mentions that Gao painted this with his left hand, the style is still strong and free. He is thus ranked as one of the more unusual figures in the history of Chinese art. This work was donated to the National Palace Museum by Mr. Huang Chun-pi. @#@@#@內容簡介（英文）@#@Kao Feng-han, a native of Shantung province, was a scholar-official. His literary talents were recognized at an early age, and he was also skilled as a painter and a calligrapher. Late in life, he was stricken with partial paralysis. From that time on, he used his left hand to paint and write, resulting in the unique appearance of his brushwork. This painting depicts peonies in full bloom. Red and white compete in splendor, born from a brush without inhibition or restraint. Though the inscription mentions that Kao painted this with his left hand, the style is still strong and free. He is thus ranked as one of the more unusual figures in Chinese art history. This work was donated to the National Palace Museum by Mr. Huang Chun-pi. @#@@#@內容簡介（英文）@#@ Gao Fenghan (style name Xiyuan, sobriquet Nancun, late sobriquet Nanfu) was recognized for his literary talents at an early age and also skilled at painting and calligraphy, excelling in particular at flower painting. Furthermore, Gao was an avid collector of inkstones and a fine carver of seals. Late in life, however, he was stricken with partial paralysis, and from that time on used his left hand to paint and write, giving his brushwork even greater boldness. This work, done at the Chinese age of 58, depicts peonies in full bloom as red and white blossoms contrast with each other. At that time Gao’s right hand had already been paralyzed, so here both his painting and inscription at the top were done with his left hand. Brush and ink flow with ease to the artist’s content and unrestrained by convention. The calligraphy in the inscription features dashing and refined movement as the brush moved with harmony, demonstrating that Gao’s skill as a left-hander was actually not inferior to that as a right-hander. Mr. Huang Chun-pi donated this hanging scroll to the National Palace Museum in 1985.(20110204)
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