明欽揖摹古 冊 墨梅
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- 資料識別：
- 故畫001223N000000012
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 欽揖
- 主題與關鍵字：
- 梅（白．紅．蠟梅）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 20.6x26.9公分、全幅 63.2公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁497-498&*故宮書畫錄（卷六），第四冊，頁99&*故宮書畫圖錄，第二十四冊，頁34-39&* 欽揖，吳縣（今江蘇蘇州）人。字遠猷；性孤癖，寓居僧舍，終身不娶。學古通經，書法歐褚。山水韻秀。著有畫解一書。 墨梅一枝，或含苞，或盛開。筆墨均極單純，疏朗中正如題款，畫來重意不重像。畫梅至明清，已具象徵意義，代表君子孤高情懷，雖是一枝數朵，情意不減繁花重重。 本幅為「摹古冊」第十二開。 &*Imitating the Ancients Ch’in I Ch’ing Dynasty (1645-1911) Ch’in I (style name Yüan-yu) was a native of Wu-hsien (modern Soochow, Kiangsu). Aloof by nature, he lived in a monk’s and never married. Studying the ancients and versed in the Chinese Classics, Ch’in I followed the calligraphic styles of Ou-yang Hsün (557-641) and Ch’u Sui-liang (596-658). His landscapes are harmonious and elegant. Ch’in I was the author of Hua-chieh (Views on Painting). In this album leaf done in monochrome ink is a plum branch with some buds and blossoms. The ink and brushwork are both extremely pure and clear, just as described in the artist’s inscription which states that the painting emphasizes ideas and not forms. By the Ming (1368-1644) and Ch’ing (1645-1911) dynasties, plum blossom painting already had symbolic significance, representing the solitary and lofty sentiment of the man of integrity. Though this painting only includes a single branch with a few blossoms, this sentiment is no less present than had there been numerous intricate blossoms. &*1.劉芳如，〈清欽揖摹古〉，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100。
- 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
