书体:

色彩:

水墨

装裱形式:

轴

创作时间:

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：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
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

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：洪绶画于清沓阁；书体：草书；全文： 印记：章侯

主题:

主要主题：山水奇石 主要主题：花草茶花 ；次要主题：花草车前草 

技法:

写意 

参考资料:

收藏着录： 石渠宝笈三编（干清宫），第二册，页582 收藏着录： 故宫书画录（卷五），第三册，页482-483 收藏着录： 故宫书画图录，第九册，页101-102 参考书目： 1.〈明陈洪绶画卷石山茶〉，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444。2.〈明　陈洪绶　卷石山茶〉，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154。 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。他作画喜用夸张的手法，营造变形的趣味，以至能成为明代末期，画坛中极富影响力的创新派代表。 本幅画一株枝干苍老的山茶树，倚着湖石昂首伫立。两朵绽放的茶花，勾勒简单而有力，前方的地上，还画了两颗车前子，高低之间，彷彿可以相互顾盼。虽然笔调并不拘泥于形似，仍旧洋溢着活泼泼的生机。 内容简介（中文）： 陈洪绶（1598-1652），浙江诸暨人。字章侯，号老莲，清入主中原后，自称悔迟、勿迟。兼善画人物及花鸟，亦参与版画稿的制作。喜用夸张手法，营造出变形的趣味，致能成为明末清初，画坛中风格独树的创新派代表。 本幅以水墨写意法，画一株枝干苍老的山茶树，倚傍着太湖石昂首伫立。两朵绽放的茶花，勾线简率而灵动。前方的地面，另画有两株车前草，高下之际，彷彿可以相互顾盼。尽管笔调并未拘泥于形似，仍旧洋溢着活泼泼的生机。(20110102) 内容简介（英文）： Chen Hongshou, a native of Zhuji in Zhejiang, had the style name Zhanghou and the sobriquet Laolian. When Manchu forces entered China and established the Qing dynasty, he took the name Huichi and Wuchi, meaning “regretfully” “too late.” He excelled at painting figures and bird-and-flower subjects, also taking part in making drafts for woodblock print illustrations. He often used exaggerated techniques to create a transformational style, becoming representative of the unique and original manner that emerged in painting circles of the late Ming and early Qing period.This work was done using the “sketching ideas” technique in monochrome ink. It depicts the trunk of an old camellia tree with a Lake Tai rock standing proudly by its side. The two blossoms on the tree are outlined succinctly but with spirit. On the ground in front are two plantago plants, which, compared to the height of the tree and rock, make it appear as if looking up to them. The brushwork is not confined to merely portraying the formal appearance, but also overflowing with vigor and life.(20110102) 内容简介（英文）： Ch’en Hung-shou, a native of Chekiang, often painted with an exaggerated and unique style that transforms his subjects for an unusual effect. For this reason, this innovative artist of the late Ming became quite influential. An old camellia tree rises up along the right border of this painting. A decorative garden rock is shown parallel to it as two camellia blossoms with leaves sprout from the otherwise bare tree and are done with simple yet powerful outlines. On the ground before the tree and rock are two plantago plants that echo their position. Although Ch’en’s brushwork was not necessarily faithful to the appearance of forms, he quite successfully instilled a sense of energy and liveliness in this painting.