明孫枝梅花水仙 軸
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- 資料識別：
- 故畫000637N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 孫枝
- 主題與關鍵字：
- 奇石 梅（白．紅．蠟梅） 水仙 荊枝
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明世宗嘉靖三十八年（1559）
- 格式：
- 本幅 71.4x31.4公分、全幅 65公分
- 關聯：
- 故宮書畫錄（卷五），第三冊，頁470&*故宮書畫圖錄，第八冊，頁129-130&*1.劉芳如，〈明孫枝梅花水仙〉，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93-94。 2.〈明 孫枝 梅花水仙〉，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82。&* 孫枝，江蘇吳縣人。字叔達，號華林居士。生卒年不詳，根據傳世作品記載，他的繪畫活動時期，應為嘉靖十四（西元一五三五）年到萬曆二十九（西元一六○一）年的六十六年間。他的畫直接學自文徵明，為文徵明出色弟子之一，所以無論是山水、人物、花卉，都帶有濃重的文家面貌。 這幅畫以淡墨畫梅的枝幹，細筆圈花瓣，再以濃墨點萼及鉤花蕊，筆墨簡淡，若不著痕跡，予人清新雅逸，織塵不染的感覺。 &*Although neither the birth nor death date of Sun Chih (style name Shu-ta; sobriquets Hua-lin chü-shih) is known his dated surviving works indicate that he was active between 1535 and 1601. A native of Soochow in Kiangsu, his paintings show the direct influence of having studied the style of Wen Cheng-ming Sun Chih is often considered Wen Cheng-ming’s most prominent follower, and all of Sun’s paintings, whether of landscapes, flowers, or figures, show strong evidence of the Wen style. This is a painting of a plum tree rendered in light ink. Sun Chih used a fine brush to depict the circular petals of the blossoms, to which he then added dark ink dots for the calyxes and outlines for the stamens. The use of brush and ink is simple and light, as if the artist left behind no traces. The delicate and unspoiled feeling gives one a sense of pure freshness and elegance above the mundane world. &* 孫枝（活動於1535-1601間），江蘇吳縣人。字叔達，號華林居士。畫風源自文徵明（1470-1559），無論是山水、人物、花卉，都帶有濃重的文家面貌。 本幅作於嘉靖三十八年（1559）冬，屬全景式的構圖方式，坡石花木，一應俱全，構成有前後深度和空間感的畫面。梅樹以淡墨畫枝幹，細筆圈寫花瓣，濃墨點鉤花萼和花蕊，筆墨簡淡，白描法畫成的水仙也有相同手法。兩者間穿插墨色染畫的湖石，帶來虛實輕重的對比趣味，給人一種纖塵不染的清新雅逸之感。(20110102)&* Sun Zhi (style name Shuda, sobriquet Hualin jushi) was a native of Wuxian in Jiangsu. His painting style derived from that of Wen Zhengming (1470-1559). All of Sun’s paintings, including landscapes, flowers, and figures, reveal strong evidence of the Wen family style. This work, done in the winter of 1559, belongs to the “complete-scenery” type of flower painting composition. On a slope is a rock with flowers and a tree branch, making for a full scene. The painting has been constructed with a sense of space and depth from front to back. The branches of the plum tree were rendered with light ink using a fine brush to depict the petals of the blossoms. Dark ink was then applied to dot and outline the calyxes and centers of the blossoms. The use of brush and ink is simple and light, with the “baimiao” fine ink-line manner employed to depict the narcissi in a similar way. Protruding between the two is an ornamental garden lake rock rendered in washes of ink, bringing a sense of contrast to the solid and void as well as varying density. This gives the viewer a feeling of pure freshness and untrammeled elegance that is untainted and otherworldly.(20110102)
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- 國立故宮博物院
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