清花卉畫冊 冊 清江介花卉
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- 資料識別：
- 故畫003520N000000010
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 江介
- 主題與關鍵字：
- 芍藥
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 18.5x48.2公分、全幅 67x60.5公分
- 關聯：
- 故宮書畫錄（卷八），第四冊，頁164&*清江介牡丹 江介（西元十九世紀前期），浙江杭州人。原名鑑，字石如。習畫初工人物，高古似陳洪綬，後專事花卉，從陳淳入手，而上窺宋元，雋逸束澹。書法歐陽詢，妙於波磔，勾勒花瓣時亦然。間作山水，亦得元人閒冷之趣。 此為「清花卉畫冊」之一開。畫牡丹二朵，其瓣先以淡墨鉤畫輪廓，白粉打底。再用藤黃、汁綠分染。而皆以硃膘點蕊，憑添嫵媚。枝葉部分則直接以色彩點畫，略上石綠提示明暗，後以汁綠加花清或墨鉤出葉脈筋絡，於是精神乃現。作者自題擬惲壽平筆意，風格雅淡。 &* The petals of these two peonies were first outlined in pale ink on a white base and then filled in with rattan yellow and translucent green washes; the pistils were done in vermilion. The colors of the branches and stems were applied directly and slightly shaded in opaque mineral green; the leaf veins were later outlined in translucent green or indigo. The artist’s colophon claims that the brushwork is modeled after that of Yün Shou-p’ing. Chiang Chieh was from Hangchow, Chekiang. At first he painted human figures modeled on those of Ch’en Hung-shou, then specialized in flower paintings, in which he emulated Ch’en Ch’un and Yüan and Sung styles. In calligraphy he followed Ou-yang Hsün and excelled at the “broken ink” method, a technique he also used in his flower paintings. He occasionally painted landscapes, in which he attained to the cool sophistication of Yüan artists. &*1.〈清江介牡丹〉，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49。 2.〈清 江介 牡丹〉，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116。 &* 江介（19世紀前期），浙江杭州人。原名鑑，字石如。習畫初工人物，高古似陳洪綬（1599-1652），後專事花卉，從陳淳（1483-1544）入手，而上窺宋元，雋逸疏澹。 本幅選自＜清花卉畫冊＞，特繪白牡丹，捨牡丹的艷麗，表現其清幽一面，並以扇面形式來呈現，添加文人意趣。自題中言擬花卉名家惲壽平筆意，果得其雅淡。而江介的書風師法歐陽詢（557-641），行筆多起伏，也見於鉤勒花瓣或葉之筋脈處，使花葉更覺靈活，有律動感。(20110102)&* Jiang Jie, a native of Hangzhou in Zhejiang, originally had the name Jian and went by the style name Shiru. In studying painting, he first learned how to do figures, achieving a lofty manner similar to that of Chen Hongshou (1599-1652). He later specialized in flowers, initially learned from the style of Chen Chun (1483-1544) before turning to the Song and Yuan dynasty masters, achieving great naturalness and lightness. This work comes from “Album of Qing Flower Paintings” and specifically depicts white peony blossoms. Eschewing the peony’s gorgeous beauty, the artist expressed its serene seclusion instead, using the original folding fan format to portray it with a literatus touch as well. The artist’s inscription on the work mentions imitating the brush manner of the famous flower painter Yun Shouping (1633-1690), indeed achieving Yun’s elegant lightness. Jiang Jie’s style of calligraphy here is also patterned after that of Ouyang Xun (557-641). Many fluctuations are seen in the brushwork delineating the petals and leaf veins, giving the flowers and leaves a sense of spirit and rhythm.(20110102)
- 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
