故宮書畫錄(卷八),第四冊,頁163&*惲壽平(1633-1690),江蘇武進(今常州)人。師北宋徐崇嗣(10世紀末)沒骨法,又據己意寫生,為清代花卉宗師。 本幅選自〈清花卉畫冊〉,扇面分繪八月夏秋之季的花神-桂花、紫薇,花枝穿插繽紛豔麗,花瓣繁複重疊。花卉多用鉤染,設色有層次變化,葉片採用沒骨法,葉脈向背清晰,頗見寫生之妙。畫中自題「紅薇曉豔,金粟秋香。」兩種花卉相互競豔,花香醉人。此圖繪於南田書房-甌香閣,此閣座落於常州白雲溪畔,惲氏經年寓居並終老於此。(20110102)&*Yun Shouping, a native of Wujin (modern Changzhou) in Jiangsu, studied the "boneless" style of wash painting practiced by the Northern Song master Xu Chongsi (fl. latter half of 10th c.). He also formed his own manner of "sketching from life," becoming a master of flower painting in the Qing dynasty. This leaf, from "Album of Qing Flower Paintings," originally was a folding fan. It depicts clusters of two plants that bloom in late summer and early autumn, during the eighth lunar month: sweet osmanthus and crape myrtle. The sprays intersect in riotous colors, the complex blossoms overlapping each other. The petals were done mostly with outlined washes, the colors revealing layered gradations. The leaves were rendered in the "boneless" method of washes, the veins turning with clarity. All of these features reveal the wonders of Yun's "sketching from life." The artist's inscription on the painting reads, "Red crape myrtle is colorful at daybreak, golden grains (of osmanthus) fragrant in autumn." The two types of blossoms compete in beauty, the fragrance intoxicating. This work was done in Yun Shouping's studio, Ouxiang Pavilion, located on the banks of the Baiyun River in Changzhou, where Yun lived for many years in his old age. (20110102)&*惲寿平(1633-1690)、江蘇武進(現在の江蘇省常州)の人。北宋徐崇嗣(10世紀末)の没骨法(輪郭線を描かない画法)を学び、自ら工夫して写生画を描いた。清代を代表する花卉画の大家。 本作は『清花卉画冊』に収録されている。扇面に夏から秋にかけて咲く代表的な花─桂花(モクセイ)と紫薇(サルスベリ)が描かれている。交錯する花と枝葉、重なり合う花びら─色鮮やかで華やかな作品である。花弁の多くが鉤染(輪郭線を取ってから着色する画法)で描かれ、着色で花色の濃淡が表現されている。葉は没骨法を用い、葉の?表にくっきりと葉脈が描かれ、写生の妙が見て取れる。画中に自題「紅薇暁豔、金粟秋香。」がある。美しさを競い合う二つの花、人々はその香りに酔いしれる。本作は南田書房─甌香閣で描かれた。惲寿平は常州白雲川のほとりに位置する甌香閣に長い間寓居し、この地で晩年を迎えた。 (20110102)&*1.〈清 惲壽平 桂花紫薇〉,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42。