清傳綮寫生 冊 芙蓉
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- 資料識別：
- 故畫001203N000000008
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 朱耷
- 主題與關鍵字：
- 芙蓉 蘆葦
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清世祖順治十六年（1659）
- 格式：
- 本幅 24.6x31.5公分、全幅 24.6x38.9公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁509-510&*故宮書畫錄（卷六），第四冊，頁141-143&*故宮書畫圖錄，第二十三冊，頁298-301&*朱耷（西元一六二六至一七０五年），為明朝皇室後裔，世居江西南昌。明亡，出家為僧。擅長山水、花鳥、蟲魚、木、石。他的畫純出靈性，不循古法，簡化造型，筆墨縱恣，而能攝取無限生機。朱耷別號頗多，「傳綮」為早年法號，「八大山人」為還俗後的別號，最為人知。 朱耷「寫生冊」年款己亥，是年三十四歲，屬早期的作品。本幅以「芙蓉」為題，筆法疾速，構圖奇詭，形簡而意足。筆墨間，頗有陳淳（一四八三－一五四四）的遺意。 &* Better known under his sobriquet Pa-ta shan-jen, Chu Ta was a scion of the Ming imperial house, but became a monk with the fall of the dynasty in 1644. Chu Ta was an excellent painter of all subjects, and he developed an individual style, simplified and untrammeled, that brings a magical quality of life to his art. This album, dated 1659 when the artist was thirty-four, is an early work by Chu Ta. The leaf depicting a hibiscus was painted with a brush that moved at varying speeds, and the composition is unusual. Though simple in appearance, the painting lacks nothing. The influence of Ch’en Ch’un (1483-1544) can be faintly perceived. &*傳綮（約1626-1705）為明皇族後裔，原名朱耷，號八大山人，江西南昌人。明亡後出家為僧，後又改信道教。作畫多採水墨大寫意法，尤以花鳥最稱特出。筆墨簡練，將物象擬人化，用象徵手法表達寓意，締造了藉物抒情的獨到風格。 本幅選自〈寫生冊〉，以寫意法畫風中之芙蓉與蘆葦，落筆迅疾，形象簡潔而意態俱足。筆墨間，不乏明中葉花卉畫名家陳淳（1483-1544）的遺意。因此冊末幅署有己亥（1659）年款，故知是作者卅四歲壯年時期的作品。(20110102)&* Chuanqi was a descendant of the Ming dynasty imperial family. A native of Nanchang in Jiangxi, his original name was Zhu Da, and he had the sobriquet Bada shanren. After the fall of the Ming in 1644, he became a Buddhist monk but later converted to Daoism. Most of his paintings were done in a very expressive “sketching ideas” manner, his bird-and-flower subjects being most outstanding. With mature and succinct brush and ink, he personified his subjects, using symbolic expressions to convey meaning and thus creating an original style to show his feelings. This work, from “Album of Sketches from Life,” depicts in the “sketching ideas” manner hibiscus and reeds blowing in the wind. The brushwork is swift and the forms succinct while still being conveying the idea. Throughout the use of brush and ink appears the influence of the famous middle Ming flower painter Chen Chun (1483-1544). At the end of album is also Chuanqi’s signature dated to the equivalent of 1659, indicating that this work was done at the relatively early age of 34 by Chinese reckoning.(20110102)&*1.〈清 傳綮 芙蓉〉，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126。
- 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
