清花卉畫冊 冊 清惲壽平牡丹
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- 資料識別：
- 故畫003517N000000006
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 惲壽平
- 主題與關鍵字：
- 牡丹
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清世祖順治十四年（1657）
- 格式：
- 本幅 19.3x55.4公分、全幅 67x61公分
- 關聯：
- 故宮書畫錄（卷八），第四冊，頁163&*惲壽平（西元一六三三－一六九○年），江蘇武進人。初名格，後以字行。又字正叔，號南田。詩文為毘陵六逸之首，畫與清四王相埒，合稱四王吳惲。畫初學山水，後自覺無法與王翬爭勝，而專攻花卉。以徐崇嗣沒骨法參以己意，別具風格，成為清代花卉畫宗師。 此幅屬「清花卉畫冊」。畫黃色、紫色牡丹各一朵，自題曰：「姚魏丰神」。姚黃、魏紫為牡丹中之名品，各以出自民間姚氏人家與魏相仁溥家中而得名。「群芳譜」中曾謂：「姚花為王，魏乃為后」，併稱花王花后。 &* From Wu-chin in Kiangsu, Yün was the leading easayist and poet of the “Six Gentlemen of P'i-ling” and was one of the most outstanding artists of the Ch'ing dynasty. Originally a master of landscapes, Yün felt he could not equal Wang Hui in this genre and consequently specialized in paintings of flowers and plants. He incorporated the “boneless” wash method of the Northern Sung painter Hsü Ch'ung-ssu into his own repertoire and thus created a new style, for which he became known as a master of flower painting. Yün Shou-p'ing has depicted two rare “Yellow Yao” and “Violet Wei” peonies, himself describing them as “graceful and slender.” (The flowers are so called because they were bred by gentlemen surnamed Yao and Wei respectively.) The Book of Flowers has described the flowers’ regal appearance, saying that “the Yao blossom is king; the Wei blossom, queen.”&*惲壽平（1633-1690），初名格，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。畫法遠承徐崇嗣（10世紀後半）之沒骨法，又參以己意，風格柔美秀雅，蔚為清代花卉畫宗師。 本幅選自〈清花卉畫冊〉，由摺扇改裝為冊頁。採沒骨法，畫黃、紫色牡丹各一，幅左自題曰：「姚魏丰神」。按，姚黃、魏紫都是牡丹花中的極品，各因出自姚、魏二家而得名。王象晉《群芳譜》即謂：「姚花為王，魏乃為后」，故畫家每喜將花王花后延攬入丹青。(20110102)&* 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 traces 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, originally a folding fan, comes from “Album of Qing Flower Paintings.” It employs the “boneless” method of washes to depict two peony blossoms, one in yellow and the other purple, the title at the left reading, “The Great Spirit of Yao and Wei.” Both the Yao yellow and Wei purple varieties of peony are rare and so named after the surnames of the person who cultivated them. Wang Xiangjin in his Record of All (Flowers) Fragrant states: “The Yao blossom is king and the Wei its queen,” which is one reason why artists have often included the “King and Queen of Flowers” in their paintings. (20110102)&*1.〈清 惲壽平 姚魏丰神〉，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164。 2.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。
- 管理權：
- 國立故宮博物院
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- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
