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:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：陈洪绶；题跋位置：本幅；款识：老迟洪绶画于静者居；书体：行书；全文： 印记：陈洪绶印、章侯

主题:

主要主题：山水奇石 主要主题：翎毛朱连雀 ；次要主题：花草梅（白．红．蜡梅）白梅；其他主题：花草  

技法:

皴法 皴法披麻皴

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2112 收藏着录： 故宫书画录（卷五），第三册，页481 收藏着录： 故宫书画图录，第九册，页95-96 参考书目： 1.〈明陈洪绶梅花山鸟〉，收入国立故宫博物院编，《晚明变形主义画家作品展》（台北：国立故宫博物院，1977年九月初版），页486。2.谭怡令，〈明陈洪绶梅花山鸟〉，收入谭怡令编，《画里珍禽》（台北：国立故宫博物院，1988年十月初版），页94。 内容简介（中文）： 陈洪绶（西元一五九八－一六五二年），浙江诸暨人。字章侯，号老莲。明亡后，又号悔迟、勿迟、云门僧。专工人物，旁及花鸟、草虫、山水，无所不能。其画喜用夸张手法，表现变形趣味。 梅干盘曲，纠错转出奇石之后。枝桠上梅花繁生，一山鸟栖歇其间，造型富趣味性，颇有作者自出之意。花以钩勒填彩法画成，线条遒劲稳定，傅彩浓淡得宜，朵朵圆实珠润，奇巧可爱。 内容简介（英文）： Ch’en Hung-shou, a native of Chekiang province, specialized in figure painting, but was also gifted at other subjects, including birds-and-flowers, grasses-and-insects, and landscapes. He often used exaggerated techniques to transform his subject mater in his own unique stylized creations. A gnarled plum tree, its angular branches covered with blossoms, spirals around an ornamental rock, providing a fitting perch for a wild bird. This unusual bird is more reflective of the artist’s own peculiar style than that found in nature. The full, rounded shapes of the blossoms were outlined first in ink and then filled with delicate colors. The brushwork throughout is forceful and steady. 网页展示说明 陈洪绶（1598－1652），浙江诸暨人。字章侯，自号老莲。明亡后，又号悔迟、勿迟、云门僧。擅长书画。在绘画方面，他专工人物，旁及花鸟、草虫、山水，无所不能。他所画的人物，躯干伟岸，衣纹细劲，兼有李公麟（1049－1106）和赵孟頫（1254－1322）之妙，不过他喜欢用夸张手法来作画，是晚明变形主义画风的大家。此外，他又参与版画的制作，对晚明版画艺术的提昇贡献匪浅。 巨大的太湖石后，有一棵树榦盘曲的老梅，枝桠上满布着含苞待放和盛开的梅花。一只山鸟伫立枝上，侧头而望。这只山鸟的鸟喙平伸，表情极富趣味性。陈洪绶以古籀法写梅榦，笔力雄健。花以钩勒填彩法画成，轮廓线条细如游丝，遒劲稳定。花瓣和花蕊都用白粉点染，瓣瓣丰厚，朵朵圆实。石的皴纹扭动，笔墨圆润而含蓄。 网页展示说明 Ch'en Hung-shou, a native of Chekiang province, spanned the Ming and Ch'ing dynasties and specialized in figure painting, but he was also gifted at other subjects, including birds-and-flowers, grasses-and-insects, and landscapes. In figure painting, he often used solid forms and taught drapery lines, revealing the features of Li Kung-lin's (1049-1106) and Chao Meng-fu's (1254-1322) styles. However, his style was often exaggerated, and he became known as one of the "transformation" artists of the late Ming. He also did illustrations for woodblock printing, making a major contribution to the art of woodblock illustration in the late Ming. A gnarled plum tree, its angular branches covered with blossoms and buds, spirals around a large ornamental Lake T'ai rock, providing a fitting perch for a wild bird. This unusual bird is perhaps more reflective of the artist's own peculiar style than that found in nature. Strong, calligraphic strokes define the trunk of the tree, and the full, rounded shapes of the blossoms were done first with delicate yet firm lines of ink and then filled with delicate colors. The details of the blossoms were delineated with white to give them a sense of fullness and volume. The texture strokes of the rocks are also animated, making this work seem both reserved and animated.