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民國鄭褧裳閒情 軸
基本資訊
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- 典藏尺寸本幅@#@173.8x85.2@#@@#@全幅@#@277.6x103.5
- 質地本幅@#@絹
- 題跋資料作者款識@#@鄭褧裳@#@鄭褧裳@#@楷書
- 主題主要主題@#@人物@#@仕女@#@@#@次要主題@#@器用@#@傢俱（屏風）@#@榻、几@#@@#@次要主題@#@器用@#@文玩（琴棋書畫）@#@書@#@@#@次要主題@#@器用@#@花器@#@@#@次要主題@#@翎毛@#@鸚鵡@#@@#@其他主題@#@其他@#@孔雀羽毛、白巾
- 技法工筆
- 參考資料內容簡介（中文）@#@鄭褧裳(西元一八八三－一九五九年)名錦，廣東香山人。他早年留學日本習畫，作品曾經入選東京帝展。後來返國從事藝術教育工作，受命籌設北京美專，並且擔任校長，也曾在故宮博物院前身的古物陳列所中任職，得以有機會可以觀賞古代的繪畫名蹟。中日戰爭期間移居澳門，並在當地終老。戰火烽起之前，他曾響應晏陽初的平民教育運動，深入鄉村民間，參與縣政建設，是位入世的畫家。 他擅長於畫人物，融合中國與日本的繪畫技法，尤其精於古裝仕女，秀逸雅致。畫作的尺寸通常都很大。 這幅畫是畫家在京都習畫時的畢業力作。畫裡所描繪的主角是一位年輕的古裝女子，她蜷曲雙腿坐在以奇石和螺鈿裝飾的榻椅上，低頭凝神觀看綠鸚鵡。(圖一)鸚鵡因為能模仿人說話，常被視為通靈之鳥，在傳統的仕女畫中，是常出現的女性良伴。而其輕巧的體態，更襯托出女子的嫻靜溫雅。華麗的家具、和瓶中所插的孔雀翎毛，都傳達出富貴的氣息，但架上擺置的書籍，為這閨房增添了幾分風雅。(圖二)圓窗外則是繁花盛開的麗景。(圖三) 畫中對景物質感與細節的描繪精巧。像椅子上各面都有不同的裝飾，隨意置放的白紗也刻意要畫出薄如蟬翼的透明感。(圖四)從家具與地磚的布列方向看來，畫家顯然經過西洋透視法的訓練。但畫中濃厚的裝飾意趣，及女子頭髮蓬鬆如雲的畫法，(圖五)則和日本繪畫的技法關係更為密切。 本幅是由鄭美成女士捐贈。 @#@@#@內容簡介（中文）@#@鄭褧裳(西元一八八三－一九五九年)名錦，廣東人。留學日本習畫，曾入選帝展。後返國從事藝術教育，籌設北京美專並任校長。晚年移居澳門。善畫人物，融合中日技法，尤精古裝仕女，秀逸雅致。 這是畫家在京都習畫時的畢業力作，描繪古裝少女坐在華美榻上，低頭觀看綠鸚鵡，顯得溫雅嫻靜，圓窗外則是繁花麗景。畫中景物精細，且富裝飾意趣，受日本畫法所影響。本幅是鄭美成女士捐贈。 @#@@#@內容簡介（英文）@#@Cheng Chiung-ch'ang, a native of Kwangtung, studied painting as a youth in Japan and his works were chosen for the imperial Tokyo exhibit. After returning to China, he focused on art education and established the Peking Academy of Fine Arts, serving as its president. He also worked for the palace collection, catching a glimpse of the ancient works there. During the Sino-Japanese War, he moved to Macao and remained there for the rest of his life. Before the War, he took part in the popular education movement, participating in local projects for the benefit of others. He specialized in figure painting, combining the techniques of Chinese and Japanese art. He also excelled at painting traditional ladies, reflecting on their elegance and beauty. His works were usually quite large. This is a graduation work done by Cheng Chiung-ch’ang while he was studying in Kyoto. He shows a young elegant lady in traditional dress seated on an opulently decorated day bed looking down pensively at a parrot. Since a parrot can mimic the human voice, it is known as a “mediumship”. They are often found in traditional paintings of ladies. The graceful pose of the lady complements elegance and status. The furniture and peacock feather in the vase represent an atmosphere of luxury, while books add an element of sophistication. Outside the window, flowers vie for beauty. The painting was done with exceptional finesse and detail, as shown in the decoration of the bed and table as well as the white gauze so thin as to appear almost transparent. From the depiction of perspective for the furniture and the floor, the artist was obviously trained in Western techniques. However, the highly decorative elements and the rendering of the lady's hair are close in keeping with Japanese painting techniques. This work was donated to the National Palace Museum by Ms. Cheng Mei-ch'eng.
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