书体:

色彩:

水墨

装裱形式:

轴

创作时间:

明世宗嘉靖三十八年（1559）

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：孙枝；题跋位置：本幅；款识：嘉靖己未（西元一五五九年）冬日。孙枝。；书体：楷书；全文： 印记：孙叔达、孙枝

主题:

主要主题：花草水仙 ；次要主题：山水奇石 ；次要主题：花草荆枝 ；其他主题：花草梅（白．红．蜡梅）白梅；其他主题：花草 草

技法:

白描 写意 皴法 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页470 收藏着录： 故宫书画图录，第八册，页129-130 参考书目： 1.刘芳如，〈明孙枝梅花水仙〉，收入国立故宫博物院编辑委员会编，《画梅名品特展》（台北：国立故宫博物院，1991年元月初版），页93-94。2.〈明　孙枝　梅花水仙〉，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82。 内容简介（中文）： 孙枝，江苏吴县人。字叔达，号华林居士。生卒年不详，根据传世作品记载，他的绘画活动时期，应为嘉靖十四（西元一五三五）年到万历二十九（西元一六○一）年的六十六年间。他的画直接学自文征明，为文征明出色弟子之一，所以无论是山水、人物、花卉，都带有浓重的文家面貌。 这幅画以淡墨画梅的枝干，细笔圈花瓣，再以浓墨点萼及钩花蕊，笔墨简淡，若不着痕迹，予人清新雅逸，织尘不染的感觉。 内容简介（中文）： 孙枝（活动于1535-1601间），江苏吴县人。字叔达，号华林居士。画风源自文征明（1470-1559），无论是山水、人物、花卉，都带有浓重的文家面貌。 本幅作于嘉靖三十八年（1559）冬，属全景式的构图方式，坡石花木，一应俱全，构成有前后深度和空间感的画面。梅树以淡墨画枝干，细笔圈写花瓣，浓墨点钩花萼和花蕊，笔墨简淡，白描法画成的水仙也有相同手法。两者间穿插墨色染画的湖石，带来虚实轻重的对比趣味，给人一种纤尘不染的清新雅逸之感。(20110102) 内容简介（英文）： Sun Zhi (style name Shuda, sobriquet Hualin jushi) was a native of Wuxian in Jiangsu. His painting style derived from that of Wen Zhengming (1470-1559). All of Sun’s paintings, including landscapes, flowers, and figures, reveal strong evidence of the Wen family style.This work, done in the winter of 1559, belongs to the “complete-scenery” type of flower painting composition. On a slope is a rock with flowers and a tree branch, making for a full scene. The painting has been constructed with a sense of space and depth from front to back. The branches of the plum tree were rendered with light ink using a fine brush to depict the petals of the blossoms. Dark ink was then applied to dot and outline the calyxes and centers of the blossoms. The use of brush and ink is simple and light, with the “baimiao” fine ink-line manner employed to depict the narcissi in a similar way. Protruding between the two is an ornamental garden lake rock rendered in washes of ink, bringing a sense of contrast to the solid and void as well as varying density. This gives the viewer a feeling of pure freshness and untrammeled elegance that is untainted and otherworldly.(20110102) 内容简介（英文）： Although neither the birth nor death date of Sun Chih (style name Shu-ta; sobriquets Hua-lin chü-shih) is known his dated surviving works indicate that he was active between 1535 and 1601. A native of Soochow in Kiangsu, his paintings show the direct influence of having studied the style of Wen Cheng-ming Sun Chih is often considered Wen Cheng-ming’s most prominent follower, and all of Sun’s paintings, whether of landscapes, flowers, or figures, show strong evidence of the Wen style. This is a painting of a plum tree rendered in light ink. Sun Chih used a fine brush to depict the circular petals of the blossoms, to which he then added dark ink dots for the calyxes and outlines for the stamens. The use of brush and ink is simple and light, as if the artist left behind no traces. The delicate and unspoiled feeling gives one a sense of pure freshness and elegance above the mundane world.