明人便面集錦 冊 明陳栝芭蕉紫薇
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- 資料識別：
- 故畫003541N000000007
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 陳栝
- 主題與關鍵字：
- 奇石 芭蕉 紫藤
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 17.2x50.3公分、全幅 33x56.7公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁493-494&*故宮書畫錄（卷八），第四冊，頁165&* 陳栝（16世紀中葉），字子正，號沱江，長洲（今江蘇蘇州）人。陳淳（1483-1544）子，為人放誕不羈，行事有東晉竹林七賢之風。善畫花卉，頗能繼承其父畫風。筆勢飛勁，饒有生趣。 本幅選自＜明人便面集錦冊＞。筆墨渾厚，在扇面形式的空間中，安排湖石當前，後為芭蕉與紫薇。有趣的是紫薇在芭蕉叢後，幾不見主幹，三主題在畫幅中央，成為三層式排列，花葉交錯，顯有刻意營造層次和深度感之意。(20110102)&* Chen Gua (style name Zizheng, sobriquet Tuojiang) was a native of Changzhou (modern Suzhou, Jiangsu). The son of Chen Chun (1483-1544), he was known for his abandoned character, behaving much in the manner of the Seven Sages of the Bamboo Grove during the Eastern Jin period. He excelled at painting flowers, inheriting his father’s painting style. His brush flew with force, demonstrating considerable vitality. This leaf, originally a folding fan, comes from the album “Collected Brocade of Ming Folding Fans.” The brushwork is simple and strong, depicting the arrangement of an ornamental lake rock in front and plantain with crape myrtle behind as they spread out across the surface. What is interesting here is that the crape myrtle is behind the plantain so that its trunk is virtually invisible. The three motifs are also concentrated in the middle of the painting to create a composition with three layers. With all the blossoms and leaves intersecting each other, it creates an obvious sense of layering and depth.(20110102)&*1.〈明 陳栝 芭蕉紫薇〉，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118。
- 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
