书体:

色彩:

水墨

装裱形式:

册(蝴蝶装‧方幅式)

创作时间:

清世祖顺治十六年（1659）

文字类型:

质地:

本幅纸

释文:

印记资料:

作者印记：枯佛巢
鑑藏宝玺：宣统御览之宝
收传印记：宋致审定

题跋资料:

主题:

主要主题：花草水仙 

技法:

写意 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页509-510 收藏着录： 故宫书画录（卷六），第四册，页141 收藏着录： 故宫书画图录，第二十三册，页298-301 参考书目： 1.〈清　传綮　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124。 内容简介（中文）： 传綮（约1626-1705）为明皇族后裔，原名朱耷，号八大山人，江西南昌人。明亡后出家为僧，后又改信道教。作画多采水墨大写意法，尤以花鸟最称特出。笔墨简练，将物象拟人化，用象征手法表达寓意，缔造了借物抒情的独到风格。 本幅选自〈写生册〉，以简率之笔，钩绘水仙一株凌空上扬，花蕊甚且已经探出幅面，仅右下角钤「枯佛巢」一印。这种极端偏倚的构图手法，不仅传透出画家内心孤傲不群，愤世嫉俗的性情，也为花卉画的布局章法，缔造了前所罕见的新境。(20110102) 内容简介（英文）： Chuanqi was a descendant of the Ming dynasty imperial family. A native of Nanchang in Jiangxi, his original name was Zhu Da, and he had the sobriquet Bada shanren. After the fall of the Ming in 1644, he became a Buddhist monk but later converted to Daoism. Most of his paintings were done in a very expressive “sketching ideas” manner, his bird-and-flower subjects being most outstanding. With mature and succinct brush and ink, he personified his subjects, using symbolic expressions to convey meaning and thus creating an original style to show his feelings.This work, from “Album of Sketches from Life,” is done in very succinct brushwork, outlining a single soaring narcissus with most of the blossoms out of the composition. The artist’s only other addition to the work was a seal impression in the lower right that reads, “Withered Buddha’s Nest.” This kind of extremely unbalanced vertical composition not only reflects the artist’s proud and aloof character different from others, it also suggests his cynical temperament. Purely in terms of flower arrangement, however, it is an unprecedented new vision in painting.(20110102)