| 【類別】 | 【參考資料】 |
|
收藏著錄
|
故宮書畫錄（卷六），第四冊，頁176-177
|
|
收藏著錄
|
故宮書畫圖錄，第二十八冊，頁90-95
|
|
參考書目
|
1.〈清惲壽平牡丹〉，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44。
2.〈清惲壽平花卉山水合冊‧牡丹〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁275。
3.本社，〈清惲壽平牡丹〉，《故宮文物月刊》，第50期（1987年5月），頁1。
4.〈清惲壽平王翬花卉山水合冊 冊 牡丹〉，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168-169。
5.邱馨賢，〈為花傳神韻—惲壽平的沒骨花卉〉，《故宮文物月刊》，第337期（2011年4月），頁58-67。
|
|
內容簡介（中文）
|
惲壽平（西元一六三三－一六九０年），江蘇武進人。初名格，字壽平，以字行，又字正叔，號南田，別號雲溪外史，東園草衣等。詩文為毘陵六逸之首，畫與清初四大家相埒，合稱四王吳惲。
本幅為「惲壽平王翬花卉山水合冊」之一開。沒骨設色畫赤、紫、白牡丹三枝，或正或側，曲盡其態。全圖賦色明麗鮮豔，但是卻流露出一種清新俊逸，高雅脫俗之氣質。
|
|
內容簡介（英文）
|
This painting of three red, violet, and white peonies in the “boneless” wash style (some pictured from the front and some from the side) fully depicts the beauty of the flower. Extravagantly colored, the flowers still retain a fresh elegance and graceful air that is anything but vulgar.
Considered the equal of the “Four Great Masters of the Ch’ing Dynasty,” Yun was one of the “Ssu Wang Wu Yun” or “ the Four Messrs. Wang, the Master Wu, and the Master Yun”--six of the most famous painters of the Ch’ing dynasty. He was the leading essayist and poet of the “Six Gentlemen of Pi-ling.” He was from Wu-chin in Kiangsu. He used his style name Shou-p’ing in place of Ko, his original name, and then changed his style name to Cheng-shu. His sobriquets were Nan-t’ien, Yun-his-wai-shih, and Tung-yuan-ts’ao-yi.
|
|
網頁展示說明
|
惲壽平（1633-1690），原名格，字壽平，後以字行，江蘇武進人。初善作山水，因自謙無力與王翬（1632-1717）爭勝，遂改工花卉。畫法承自徐崇嗣（10世紀末）之沒骨法，又參以己意，風格獨創，蔚為清代花卉畫宗師。
本幅選自〈惲壽平王翬花卉山水合冊〉。以沒骨設色法畫紅、白、紫三色牡丹各一株，姿態或正或側或背，曲盡變化。賦色於明麗鮮豔中，散發出一股清新俊逸，高雅脫俗之氣質。幅左王翬的題句，稱許此作已經凌駕明代的陳淳、陸治，足可媲美北宋，可謂備極推崇。(20110102)
|
|
網頁展示說明
|
Yun Shouping originally had the name Ge and the style name Shouping, by which he later went. A native of Wujin in Jiangsu, he at first excelled at landscape painting but later felt that he could not compete with the master Wang Hui (1632-1717), turning to flowers instead. His style can be traced all the way back to the "boneless" method of washes used by Xu Chongsi (fl. latter half of 10th c.), but with his own interpretation as well. With his tender and elegantly beautiful manner, Yun Shouping became a master of flower painting in the Qing dynasty praised by many.
This leaf comes from "Album of Flowers and Landscapes." Using the "boneless" method of washes, it depicts three stalks with peony blossoms; one is red, one white, and the other purple. They are also shown in a variety of poses: from the front, side, and back. A fresh and outstanding character exudes from the gorgeous beauty of their bright colors, creating a lofty and otherworldly atmosphere. At the left is an inscription by Wang Hui, offering high praise for Yun Shouping, claiming that he surpassed Chen Chun and Lu Zhi of the Ming dynasty and was comparable to the Northern Song masters. (20110102)
|
|
網頁展示說明
|
惲寿平（1633-1690）、本名は格、字は寿平、後に字で名を知られた。江蘇武進の人。初めは山水畫を善くしたが、王翬（1632-1717）には及ばないことを悟り、しだいに花卉畫に転向した。その畫法は徐崇嗣（10世紀末）の沒骨法を繼承する中に独自の工夫があり、独創性が感じられる。清代花卉畫の大家。
本作は『惲寿平王翬花卉山水合冊』に収錄されている。赤、白、紫三色の牡丹が沒骨法（輪郭線を用いない畫法）で一株ずつ描かれている。一株は正面を向き、一株は横向き、もう一株は花の?を見せ、変化に富んでいる。明るく鮮やかな色彩の中にも清々しさが漂い、格調高く脫俗的な雰囲気がある。畫面左に王翬の題句があり、本作は明代の陳淳、陸治を凌駕したと讚え、北宋時代の絵畫にも匹敵すると絕贊している。 (20110102)
|