清惲壽平寫生花卉 冊 牡丹
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- 資料識別：
- 故畫001198N000000012
- 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
- 格式：
- 本幅 26.3x33.4公分、全幅 64.6x42公分
- 關聯：
- 故宮書畫錄（卷六），第四冊，頁135-137&*故宮書畫圖錄，第二十四冊，頁138-141&* 惲壽平（西元一六三三－一六九○年），江蘇武進人。初名格，字壽平，後以字行。天生敏慧多才，善詩書，詩文為毘陵六逸之首。又擅繪畫，與王時敏等人齊名，合稱四王吳惲。 本幅為「寫生花卉冊」之第十二幅，水墨畫牡丹。花瓣僅以乾筆寫出，再用渴筆擦出明暗，點墨為蕊，用筆隨意。枝葉則以濕筆為之，墨色濃淡變化多端，韻致高雅，天機物趣躍然紙上。&* A native of Kiangsu, Yün Shou-p’ing was the leading essayist and poet of the Six Gentleman of P’i-ling. Considered one of the Six Masters of Early Ch’ing, he is ranked as a leading painter of his age. Originally specializing in landscapes, he felt he could not equal Wang Hui and consequently focused on flowers and plants. Incorporating the “boneless” wash method in his repertoire and creating a new style, he became a leader in the genre. In this ink painting of a peony, the petals are merely sketched with a dry brush, which has also been used to shade the light and dark areas, and the stamens are dotted in ink. Branches and leaves are done with moist ink, producing extremes of destiny. Elegantly styled, the painting is vividly lifelike.&*惲壽平不只師法古人，更向大自然學習，也就是以寫生的態度來作畫。他的花卉畫，幾乎全以身邊常見的花草為題材，如牡丹、桃花、菊花等等，信手拈來，就有無窮的生意，而其中畫得最多，最具特色的就是牡丹。他的牡丹有利用鮮艷明亮的顏色，或者只用水墨來畫牡丹的花葉。設色的牡丹，雖然顏色穠麗，但用的顏色純淨而明亮，將牡丹畫得典雅明麗；單用水墨的，則利用墨色變化，將牡丹畫得清逸超塵。另外，惲壽平曾說過：「凡畫花卉極生動之致，向背欹正，烘日迎風挹露，各盡其變，但覺清芬拂拂，從此間寫出乃佳耳。」為了要呈現花卉完美的形象，不僅利用顏色畫出花朵的陰陽向背，表現細緻寫實的花葉翻轉外，還要讓觀者可以從畫面上，聞出花香來，能表現出他所強調的「清芬拂拂」，才算是最好的作品。如這幅墨牡丹，構圖大膽，花朵集中於右上角，花瓣僅以乾筆畫出，再以更乾渴的筆墨擦出明暗，花蕊則以點墨的方式畫出，用筆相當隨意，枝葉則以濕筆表現。全幅墨色濃淡變化多端，富書法筆趣，除了將牡丹繁複的花葉表現得栩栩如生外，從畫面上似乎隱約可以聞到一股濃郁的芳香來。&*1.〈清惲壽平墨牡丹〉，收入國立故宮博物院編輯委員會編，《牡丹名畫特展圖錄》（臺北：國立故宮博物院，1987年四月初版），頁44。 &*惲壽平（1633-1690），江蘇武進人。清代花卉畫宗師，初名格，字壽平，後以字行。詩文為毘陵六逸之首，畫與清初四王、吳歷（1632-1718）相埒，合稱四王吳惲。 本幅選自＜寫生花卉冊＞，單以水墨畫牡丹，花瓣僅以乾筆描畫，擦出明暗，濃墨點蕊，用筆隨意。枝葉則以濕筆為之，墨色濃淡變化多端，韻致高雅，清逸超塵。構圖以花蕊為中心向外輻射，柔韌的線條富於動感，彷彿仍在向著某處生長延伸，帶出蓬勃的生機。(20110102)&* Yun Shouping, a native of Wujin in Jiangsu, was a master of flower painting in the Qing dynasty. His name was originally Ge, with Shouping being his style name, by which he was later known. In poetry, he was leader of the Six Gentlemen of Piling, and in painting he was renowned and grouped with the Four Wangs of the Early Qing and Wu Li. This work comes from “Album of Flowers Sketched from Life” and depicts a single peony blossom in monochrome ink. The petals were done in ink lines with dry brushwork smeared to give the effect of shading. Dark ink dots the center of the blossom, the brushwork being quite free and easy. The branches and leaves, however, are done with a wet brush, the ink tones going to extremes of light and dark. With a harmony quite lofty and elegant, its loftiness is pure, transcending, and untrammeled. The composition seems to radiate from the center of the blossom, the pliable lines full of movement, as if still growing outwards, bringing it a vigorous lease on life.(20110102)
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- 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
