宋元集繪 冊 宋艾宣寫生罌粟
推薦分享
資源連結
連結到原始資料 (您即將開啟新視窗離開本站)後設資料
- 資料識別：
- 故畫001246N000000007
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 艾宣
- 主題與關鍵字：
- 罌粟
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 23.7x24.3公分、對幅 23.7x24.3公分、全幅 43.1x75.9公分
- 關聯：
- 石渠寶笈續編（乾清宮），第一冊，頁513&*故宮書畫錄（卷六），第四冊，頁211&*楊皇后（1162-1233）出身不詳，《宋史》記載因姿容選入宮中，後獲寧宗（1195-1224在位）寵幸，協助寧宗治理國事，權傾一時。 楊皇后雖然出身低微，在文學與書法藝術上卻有一番積極修為。她書法高宗，特別是草、行、楷體，獲得時人讚賞。此幅用筆勻圓豐腴，捺筆遲重，轉折偏圓，結體扁闊而疏朗，與高宗確有相似處。同類風格也見於此次展品馬遠〈華燈侍宴〉上方題字，屬楊皇后晚年，由纖秀轉為豐潤的書風。(20101015)&* Empress Yang’s biography is unknown, but the official History of the Song records her as has having been chosen for the palace on account of her looks. Later, she became the favorite of Emperor Ningzong (r. 1195-1224), assisting him in matters of state and exerting considerable power at the time. Although Empress Yang reportedly came from humble origins, she nonetheless was able to achieve considerable cultivation in the arts of literature and calligraphy. In the latter, her style was based on that of Emperor Gaozong, and she especially excelled at cursive, running, and regular scripts, much to the praise of her contemporaries. In this work, her brushwork is full and evenly rounded with some hesitation to the right-falling strokes. Turns in the brushwork tend to be rounded, making the characters broad and open to reveal places indeed similar to the style of Gaozong. The same manner of calligraphy also appears in the inscription at the top of Ma Yuan’s “Imperial Banquet by Lantern Light” in this exhibit. Belonging to Empress Yang’s late years, her graceful style of calligraphy has become noticeably smooth and plump.(20101015)&*1.何傳馨，〈書長春花詩〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化•書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁345。
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 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
