书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

收传印记：仪周鑑赏
收传印记：蔡氏魏公书画之章
收传印记：遂初堂杨青巖真赏

题跋资料:

题跋类别：作者款识；作者：恽寿平；题跋位置：本幅；款识：翠幙盈盈歌舞尘。琼华珠树相娇春。东风着意涂红紫。肯负花前对酒人。瓯香馆拟北宋徐家画法。白云溪寿平。；书体：行书；全文： 印记：寿平之印、正叔、南田小隐

主题:

主要主题：花草牡丹 主要主题：花草木兰（辛夷） ；次要主题：树木柏 

技法:

写意 没骨 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页535 收藏着录： 故宫书画图录，第十册，页201-202 参考书目： 1.〈清恽寿平花卉〉，收入国立故宫博物院编辑委员会编，《牡丹名画特展图录》（台北：国立故宫博物院，1987年四月初版），页45。2.〈清　恽寿平　花卉〉，收入谭怡令、刘芳如、林莉娜主编，《满庭芳　历代花卉名品特展》（台北：国立故宫博物院，2010年十二月初版一刷），页98。3.邱馨贤，〈为花传神韵—恽寿平的没骨花卉〉，《故宫文物月刊》，第337期（2011年4月），页58-67。 内容简介（中文）： 恽寿平（1633-1690），初名格，字寿平，后以字行，江苏武进人。初善作山水，因自谦无力与王翬（1632-1717）争胜，遂改工花卉。以徐崇嗣（10世纪后半）没骨法参己意，成为清代花卉画宗师。 本幅为折枝式构图，却是画轴形式，在恽寿平的作品中亦不多见。幅中牡丹为富贵花，柏枝表长寿，再加玉兰之「玉」字，有玉堂富贵之意。常见的吉祥题材用雅逸画风来呈现，一如牡丹花色艳丽，却以清雅色泽展露贵而不骄、艳而不俗的气质，这正是恽氏受人推崇之处。(20110102) 内容简介（中文）： 恽寿平（西元一六三三－一六九○年），武进（江苏常州）人。初名格，后以字行。又字正叔，号南田。诗文为毘陵六逸之首。画与清初四王、吴历相埒，合称四王吴恽。画初学山水，后自觉无力与王翬争胜，乃专攻花卉，以徐崇嗣没骨法参己意，别具风格，成为清代花卉画宗师。　此幅画柏枝、玉兰、牡丹，即所谓玉堂富贵之吉祥语。画题甚俗，而画甚雅逸，非高手不能为。 内容简介（英文）： 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. This painting depicts a cypress branch, magnolia, and peony – a popular trio in Chinese painting symbolic of fame and prosperity. Although the subject matter is somewhat common, the painting itself is not – something that could be accomplished only by a gifted artist. 内容简介（英文）： Yun Shouping originally had the name Ge and the style name Shouping, by which he later went. A native of Wujin in Jiangsu, he at first excelled at landscape painting but later felt that he could not compete with the master Wang Hui (1632-1717), turning to flowers instead. His style derives from the “boneless” method of washes used by Xu Chongsi (fl. latter half of 10th c.), but with his own interpretation as well. Yun became a master of flower painting in the Qing dynasty.This painting uses the “broken branch” composition of flower painting, but in a hanging scroll format instead, which is not often seen in the works of Yun Shouping. Here, the peony is the flower of wealth and nobility, the cypress represents longevity, and the magnolia (which in Chinese has the character for “jade”) signifies the expression “wealth and position in halls of jade.” These common auspicious subjects are rendered in an elegant and refined style of painting. The peony with its gorgeous colors, however, is here shown with pure and elegant hues that suggest wealth but not arrogance, creating a beautiful yet not gaudy character, which is exactly why Yun Shouping was so admired as an artist.(20110102) 网页展示说明 恽寿平与王翬是交情深厚的好朋友，两人合作作画，相互题诗，他们之间的情谊，在画坛上传为美谈。恽寿平本来原擅长画山水画，认识王翬以后，见到王翬的山水画，即对王翬说：「此道让兄独步，格耻为天下第二手。」认为王翬的山水画是最好的，除了推崇王翬的艺术成就之外，也谦虚自己的画艺。于是专心致力于花卉画上的研究，以宋徐崇嗣（活动于十世纪）、元赵孟頫（1254－1322）、明沈周（1427－1509）、陈淳（1483－1544）诸名家为师法的对象，以没骨花卉闻名，不钩花叶、枝榦的轮廓线，直接用颜色或墨画出花朵叶形，创出独特风格。由于恽寿平是常州人，因此他创的花卉风格，称为「常州派」。 这幅画画柏枝、玉兰、牡丹，有「玉堂富贵」的吉祥象征，在中国人的观念中牡丹代表富贵，柏枝则是长寿的象征，再取玉兰的「玉」字，就成了「玉堂富贵」的祝福语，题材通俗而常见。画中恽寿平虽然利用鲜艳而明亮的颜色，画盛开的牡丹，但因用色清雅，流露出牡丹贵而不骄，艳而不俗的气质，这种鲜丽明亮而不俗艳的笔墨特质，是恽寿平的花卉画受到当时人的喜爱，与影响后世的地方。