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清華嵒花鳥 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者華嵒,Hua Yan
- 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@#@113.5x57.5@#@@#@全幅@#@212x72.2
- 質地本幅@#@紙
- 題跋資料作者款識@#@華喦@#@本幅@#@新羅山人@#@行書
- 主題次要主題@#@翎毛@#@@#@其他主題@#@樹木@#@@#@其他主題@#@樹木@#@竹
- 技法寫意@#@@#@雙鉤
- 參考資料收藏著錄@#@羅家倫夫人張維楨女史捐贈書畫目錄，頁124、174@#@@#@參考書目@#@劉芳如；〈華喦花鳥〉，《華喦寫生冊》（臺北：國立故宮博物院，2012年七月初版），頁95。 @#@@#@內容簡介（中文）@#@華喦（西元一六八二－一七五六年），字秋岳，號新羅山人。福建上杭人，初寓杭州，後客揚州鬻畫，人物山水、花鳥草蟲無一不精。雖與金農、黃慎等號稱揚州八怪，但筆墨清新，在揚州畫派中獨樹一格。 本幅水墨渲染梧桐襯以雙鈎翠竹，枝上雙禽棲息鳴叫。通幅設色淺淡，極富鬆秀明麗的空靈之美，得鳥禽神韻，既描寫精微又不失簡逸生動，兼工帶寫，具有清新俊秀的個人風貌。 本幅由羅家倫夫人張維楨女士捐贈。 (20120714)@#@@#@內容簡介（中文）@#@華喦（西元一六八二－一七五六年），福建上杭人。字秋岳，號新羅山人。初寓杭州，後客揚州鬻畫。人物、山水、花鳥、草蟲無一不精。雖與八怪同時，然筆墨卻了無霸悍氣習，在揚州畫家中獨樹一格。 本幅為張維楨女士捐贈，畫梧桐、翠竹併立，枝上復有雙禽棲息鳴叫。通幅設色淺淡，乾濕並劑，極富鬆秀明麗的空靈之美。毋怪有人讚譽其畫能與清初之花卉名家惲壽平（一六三三－一六九○）並駕齊驅，對清中葉以後的花卉畫影響亦十分深遠。@#@@#@內容簡介（中文）@#@華嵒（西元一六八二－一七五六年），福建上杭人。字秋岳，號新羅山人。初寓杭州，後客揚州鬻畫。人物、山水、花鳥、草蟲無一不精。雖與八怪同時，然筆墨卻了無霸悍氣習，在揚州畫家中獨樹一格。 本幅為張維楨女士捐贈，畫梧桐、翠竹併立，枝上復有雙禽棲息鳴叫。通幅設色淺淡，乾濕並劑，極富鬆秀明麗的空靈之美，無怪乎有人讚譽其畫能與清初之花卉名家惲壽平並駕齊驅。@#@@#@內容簡介（英文）@#@Hua Yan(1682-1756), a native of Shanghang in Fujian, went by the style name Qiuyue and the sobriquet Xinluo shanren. He first resided in Hangzhou but later moved to Yangzhou to sell his paintings. He excelled at a variety of subjects, including figures, landscapes, birds and flowers, and insects and grasses. Although contemporary with the Eight Eccentrics, his brushwork lacks the bold bravura usually associated with them, making him a Yangzhou painter in his own manner. This painting, donated to the National Palace Museum by Ms. Zhang Weizhen, depicts paulonia and emerald bamboo together. Repeated pairs of birds are in the branches roosting or calling. Done in light colors both wet and dry, the work has a beautifully light and sprightly spirit. No wonder people praised Hua Yan’s ability in painting as comparable to that of the early Qing master of flowers, Yun Shouping.@#@@#@內容簡介（英文）@#@Hua Yen(1682-1756), a native of Snang-hang in Fukien province, went by the style name Ch’iu-yüeh and the sobriquet Hsin0lo shan-len. He early resided in Hangchow but later took up residence in Yangchow to sell his paintings. He excelled at a variety of subjects, including figures, landscapes, birds-and-flowers, and grasses-and-insects. Although contemporary with the “Eight Eccentrics of Yangchow”, his brushwork lacks the bold bravura usually associated with them, making him a Yangchow painter in his own manner. This painting, donated to the National Palace Museum by Ms. Chang Wei-chen, includes representations of pawlonia and emerald bamboo. Repeated pairs of birds are in the branches roosting and calling. Done in light colors that are both wet and dry, the work has a beautifully light and bright spirit to it. Wonder some have praised Hua Yen’s ability in painting as comparable to that of the early Ch’ing master of flowers. Yün Shou-p’ing (1633-1690), as Hua’s style came to exert a great influcnce on flower painting from the mid-Ch’ing on.@#@@#@內容簡介（英文）@#@Hua Yan(1682-1756), native to Shanghang, Fujian, first resided in Hangzhou and then Yangzhou to sell his art. He excelled at many subjects, such as landscapes, birds-and-flowers, and grasses-and-insects. Though associated with Jin Nong, Huang Shen, and other Eight Eccentrics of Yangzhou, his style is pure and innovative, making him stand out. This work shows a branch of paulownia leaves in ink washes against green bamboo in double outlines. On the branch is a pair of birds. The coloring is light with an elegant beautiful spirit capturing the birds’ spirit. Also in great detail not lacking in abbreviated lifelikeness, it combines the fine and sketchy manners for a personal style pure and delicate. This work was donated by Ms. Chang Wei-chen, wife of Lo Chia-lun. (20120714)
- 地圖
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