书体:

色彩:

水墨

装裱形式:

册(推蓬装‧方幅式)

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝

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：神女温香笼腻粉。铢衣新制剪朝霞。小变元人画法。寿平。；书体：行书；全文： 印记：云溪渔父、寿平、恽正叔

主题:

主要主题：花草牡丹 

技法:

写意 没骨 

参考资料:

收藏着录： 故宫书画录（卷六），第四册，页135-137 收藏着录： 故宫书画图录，第二十四册，页138-141 参考书目： 1.〈清恽寿平墨牡丹〉，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44。 内容简介（中文）： 恽寿平（1633-1690），江苏武进人。清代花卉画宗师，初名格，字寿平，后以字行。诗文为毘陵六逸之首，画与清初四王、吴历（1632-1718）相埒，合称四王吴恽。本幅选自＜写生花卉册＞，单以水墨画牡丹，花瓣仅以干笔描画，擦出明暗，浓墨点蕊，用笔随意。枝叶则以湿笔为之，墨色浓淡变化多端，韵致高雅，清逸超尘。构图以花蕊为中心向外辐射，柔韧的线条富于动感，彷彿仍在向着某处生长延伸，带出蓬勃的生机。(20110102) 内容简介（中文）： 恽寿平（西元一六三三－一六九○年），江苏武进人。初名格，字寿平，后以字行。天生敏慧多才，善诗书，诗文为毘陵六逸之首。又擅绘画，与王时敏等人齐名，合称四王吴恽。　本幅为「写生花卉册」之第十二幅，水墨画牡丹。花瓣仅以干笔写出，再用渴笔擦出明暗，点墨为蕊，用笔随意。枝叶则以湿笔为之，墨色浓淡变化多端，韵致高雅，天机物趣跃然纸上。 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. In this ink painting of a peony, the petals are merely sketched with a dry brush, which has also been used to shade the light and dark areas, and the stamens are dotted in ink. Branches and leaves are done with moist ink, producing extremes of destiny. Elegantly styled, the painting is vividly lifelike. 内容简介（英文）： Yun Shouping, a native of Wujin in Jiangsu, was a master of flower painting in the Qing dynasty. His name was originally Ge, with Shouping being his style name, by which he was later known. In poetry, he was leader of the Six Gentlemen of Piling, and in painting he was renowned and grouped with the Four Wangs of the Early Qing and Wu Li.This work comes from “Album of Flowers Sketched from Life” and depicts a single peony blossom in monochrome ink. The petals were done in ink lines with dry brushwork smeared to give the effect of shading. Dark ink dots the center of the blossom, the brushwork being quite free and easy. The branches and leaves, however, are done with a wet brush, the ink tones going to extremes of light and dark. With a harmony quite lofty and elegant, its loftiness is pure, transcending, and untrammeled. The composition seems to radiate from the center of the blossom, the pliable lines full of movement, as if still growing outwards, bringing it a vigorous lease on life.(20110102) 网页展示说明 恽寿平不只师法古人，更向大自然学习，也就是以写生的态度来作画。他的花卉画，几乎全以身边常见的花草为题材，如牡丹、桃花、菊花等等，信手拈来，就有无穷的生意，而其中画得最多，最具特色的就是牡丹。他的牡丹有利用鲜艳明亮的颜色，或者只用水墨来画牡丹的花叶。设色的牡丹，虽然颜色秾丽，但用的颜色纯净而明亮，将牡丹画得典雅明丽；单用水墨的，则利用墨色变化，将牡丹画得清逸超尘。另外，恽寿平曾说过：「凡画花卉极生动之致，向背欹正，烘日迎风挹露，各尽其变，但觉清芬拂拂，从此间写出乃佳耳。」为了要呈现花卉完美的形象，不仅利用颜色画出花朵的阴阳向背，表现细致写实的花叶翻转外，还要让观者可以从画面上，闻出花香来，能表现出他所强调的「清芬拂拂」，才算是最好的作品。如这幅墨牡丹，构图大胆，花朵集中于右上角，花瓣仅以干笔画出，再以更干渴的笔墨擦出明暗，花蕊则以点墨的方式画出，用笔相当随意，枝叶则以湿笔表现。全幅墨色浓淡变化多端，富书法笔趣，除了将牡丹繁复的花叶表现得栩栩如生外，从画面上似乎隐约可以闻到一股浓郁的芳香来。