清鄒一桂畫菊 軸
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- 資料識別：
- 故畫002548N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 鄒一桂
- 主題與關鍵字：
- 奇石 菊
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 107.3x51公分、全幅 71公分
- 關聯：
- 石渠寶笈續編（養心殿），第三冊，頁1204&*故宮書畫錄（卷八），第四冊，頁103&*故宮書畫圖錄，第十一冊，頁279-280&* 鄒一桂（西元一六八六－一七七二年），江蘇無錫人。字原褒，又號讓卿，晚號二知老人。雍正丁未傳臚，官至禮部侍郎，加尚書銜。工花卉，分枝布葉，條暢自如，設色明淨，清古冶艷，惲南田後僅見也。著有〔小山畫譜〕享年七十七。 各種菊花倚石叢生，用筆工整，傅色穠艷。清內府所存鄒畫，皆應制之作，執規循矩，不敢逾於方圓之外。 &* Tsou I-kuei was a native of Wu-hsi, Kiangsu. His style name was Yüan-pao; his sobriquets were Hsiao-shan, Jang-ching and Erh-chih lao-jen. Tsou I-kuei was a government official, at on time serving as President of the Board of Rites. He excelled at flower painting, in which he arranged flowers, twigs, leaves and branches in artful and yet natural compositions. He often used bright and clear colors. His flower paintings charm viewers with their exquisite beauty--a quality not been seen since Yün Shou-p’ing (1633-1690). He was also the author of a manual on painting, done at the age of 76. This painting depicts chrysanthemums blooming in a variety of colors alongside a faceted rock. The artist’s use of brush is fine and precise; his application of color is heavy but strikingly beautiful. All of the paintings done by Tsou I-kuei for the Ch’ing emperors were painted strictly in accordance with conventional rules and followed orthodox styles of painting. &* 鄒一桂（1686-1772），江蘇無錫人。官至禮部侍郎，善工筆花卉，著有《小山畫譜》。 此圖描繪秋景，各種品種菊花倚石叢生，採工筆重彩，繪法精確工整，傅色濃豔，具有華貴巧麗的風韻。先以雙鉤填彩法畫花，然後以沒骨法畫葉片，並以白粉染花瓣。葉片平排較平板無趣，畫法工式化。野菊花心以藤黃等色點染，頗具立體感。菊花不畏寒霜，秋冬季節傲霜怒放，深受古代文人喜愛。乾隆二十一年（1756），鄒氏曾奉敕畫洋菊三十六種，並輯成《洋菊譜》。(20110102)&* Zou Yigui, a native of Wuxi in Jiangsu, went by the style name Yuanbao and the sobriquets Xiaoshan and Rangqing as well as the late sobriquet Erzhi laoren. Serving up to the post of Vice Minister of Rites, he excelled at painting flowers in fine lines and authored Painting Catalogue of Xiaoshan. This painting depicts an autumn scene of various chrysanthemums and an ornamental rock. Done in fine lines with strong colors, the painting method is neat and accurate, the colors rich and beautiful, thereby giving the work a luxurious and opulent grace. The blossoms were first outlined and then filled with colors, the “boneless” technique of washes used to paint the leaves and then washes of white applied for the petals. The leaves, however, are not arranged very lively, and the method is somewhat flat. The centers of the wild chrysanthemums are touched with gamboges yellow and other colors to give them a volumetric effect. Chrysanthemum blossoms can endure frost, so they stand out in the cold of late autumn and early winter with proud colors, much to the appreciation of literati in the old days. In 1756 Zou Yigui received imperial orders to paint 36 types of chrysanthemums, which he compiled in Catalogue of Chrysanthemums.(20110102)&*1.〈清 鄒一桂 畫菊〉，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46。
- 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
