清吳昌碩梅花 軸
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- 資料識別：
- 贈畫000513N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 吳昌碩
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清德宗光緒卅二年（1906）
- 格式：
- 本幅 121.4x38.5公分、全幅 63.2公分
- 關聯：
- 林宗毅先生捐贈書畫目錄，頁64、126 &* 吳昌碩（西元一八四四－一九二七年），浙江安吉人。原名俊，字昌碩，又字倉石，別號缶廬、苦鐵，又署破荷、老缶、大聾，七十歲後以字行。書法以石鼓文見長，用筆結體，一變前人成法；篆刻由浙、皖諸家入手，上溯秦漢印鈢，鈍刀硬入，樸茂蒼勁；又以金石書法入畫，氣魄雄渾，色彩濃郁，為海上畫派巨擘。此幅水墨梅花為吳氏六十三歲作，畫風由清潤秀雅將入蒼勁樸質之際。畫中梅幹，枝枒、花瓣及苔點均用濃淡墨相間點畫，充分表現出水墨交融的趣味。本幅為林宗毅先生捐贈。&* Wu Ch’ang-shih (style name Ts’ang-shih; sobriquets Fou-lu, K’u-t’ieh, P’o-he, Lao-fou, and Ta-lung) was a native of An-chi, Chekiang. In calligraphy, Wu specialized in stone-drum script. He transformed the brushwork and structure of previous calligraphers to form his own style. He studied seal carving from various masters in Chekiang and Anhwei and went back to carving Ch’in (255 BC-207 BC) and Han (206 BC-AD 220) dynasty style seals: the hard medium of the seal stone was carved with blunt lines to reveal a plain yet hoary strength. Furthermore, Wu also applied the calligraphic style of stone and bronze inscriptions to his paintings, creating a grandiose and rich style with deep, bold colors. He became a noted artist of the Shanghai School. This painting of plum blossoms in monochrome ink was executed by Wu when he was sixty-two. The painting style ranges from richness and elegance to a realm of hoary strength and plainness. A plum tree in this work with twigs, branches, circular petals, and moss dots are all rendered in complementary shades of light and dark ink accented by dots, thereby fully expressing the atmosphere of harmoniously blended and varied ink tones. This painting was donated to the Museum by Mr. Lin Tsung-yi. &* 吳昌碩（西元一八四四－一九二七年），浙江安吉人。書法以石鼓文見長，用筆結體，一變前人成法；又以金石書法入畫，氣魄雄渾，為海上畫派巨擘。畫中梅幹、枝枒、花瓣及苔點均用濃淡墨相間點畫，表現水墨交融的趣味。題識曰「梅花照影清淺淺，玲瓏碎玉嵌頗黎。日斜人影亦在水，驚醒翠禽悽一啼。」在詩中延伸畫意，喚起觀者欣賞花影、人影，在水中美的意象。本幅為林宗毅先生捐贈。&* Wu Ch’ang-shih excelled at Stone Drum calligraphy, transforming that of the ancients. He also introduced Bronze and Stele script into painting for a bold manner, being a leader of the Shanghai School. The plum branch, twigs, and blossoms along with moss dots here are all done in contrasting light and dark ink, for a wonderful play of ink. The inscription reads, “Illuminated plum blossom shadows are like pure and shallow streams, as if exquisitely inlaid with pieces of shattered jade. A person’s shadow in the slanting rays of sun appears on the water, startling a perched emerald bird with a cry.” The extension of painting into poem, and vice-versa, heightens the appreciation of this work, which was donated by Mr. Lin Tsung- i.&*1.劉芳如，〈清吳昌碩梅花圖〉，收入劉芳如主編，《十九世紀末期中西畫風的感通之二－－國立故宮博物院所藏同時期名家作品展》（臺北：國立故宮博物院，1993年初版），頁94。 2.劉芳如，〈清吳昌碩梅花〉，收入國立故宮博物院編輯委員會編，《畫梅名品特展》（臺北：國立故宮博物院，1991年元月初版），頁102-103。
- 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
