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：刃菴
收传印记：宋致审定

题跋资料:

主题:

主要主题：花草芙蓉 ；次要主题：花草芦苇 

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141-143 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　芙蓉〉，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126。 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〉，以写意法画风中之芙蓉与芦苇，落笔迅疾，形象简洁而意态俱足。笔墨间，不乏明中叶花卉画名家陈淳（1483-1544）的遗意。因此册末幅署有己亥（1659）年款，故知是作者卅四岁壮年时期的作品。(20110102) 内容简介（中文）： 朱耷（西元一六二六至一七０五年），为明朝皇室后裔，世居江西南昌。明亡，出家为僧。擅长山水、花鸟、虫鱼、木、石。他的画纯出灵性，不循古法，简化造型，笔墨纵恣，而能摄取无限生机。朱耷别号颇多，「传綮」为早年法号，「八大山人」为还俗后的别号，最为人知。朱耷「写生册」年款己亥，是年三十四岁，属早期的作品。本幅以「芙蓉」为题，笔法疾速，构图奇诡，形简而意足。笔墨间，颇有陈淳（一四八三－一五四四）的遗意。 内容简介（英文）： Better known under his sobriquet Pa-ta shan-jen, Chu Ta was a scion of the Ming imperial house, but became a monk with the fall of the dynasty in 1644. Chu Ta was an excellent painter of all subjects, and he developed an individual style, simplified and untrammeled, that brings a magical quality of life to his art.This album, dated 1659 when the artist was thirty-four, is an early work by Chu Ta. The leaf depicting a hibiscus was painted with a brush that moved at varying speeds, and the composition is unusual. Though simple in appearance, the painting lacks nothing. The influence of Ch’en Ch’un (1483-1544) can be faintly perceived. 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,” depicts in the “sketching ideas” manner hibiscus and reeds blowing in the wind. The brushwork is swift and the forms succinct while still being conveying the idea. Throughout the use of brush and ink appears the influence of the famous middle Ming flower painter Chen Chun (1483-1544). At the end of album is also Chuanqi’s signature dated to the equivalent of 1659, indicating that this work was done at the relatively early age of 34 by Chinese reckoning.(20110102)