书体:

色彩:

水墨

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅纸拖尾纸

释文:

印记资料:

作者印记：子固
作者印记：彝斋
鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
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：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：黔宁王子子孙孙永保之
收传印记：神（重一）
收传印记：品（重一）
收传印记：寄傲（重一）
收传印记：项元汴印（重二）
收传印记：子京父印（重一）
收传印记：子京父印
收传印记：项墨林鑑赏章
收传印记：子京
收传印记：子京所藏（重一）
收传印记：墨林祕玩
收传印记：墨林山人
收传印记：墨（重一）
收传印记：林（重一）
收传印记：子孙永保（重一）
收传印记：退密
收传印记：墨林子
收传印记：项子京印
收传印记：桃里
收传印记：项墨林父祕笈之印
收传印记：墨林主人
收传印记：檇李项氏士家宝玩
收传印记：项子京家珍藏
收传印记：子孙世昌

题跋资料:

题跋类别：题跋；作者：柯九思拖尾丹丘柯九思；书体：楷书；全文：冰薄沙昏短草枯。采香人远鬲（隔）湘湖。谁留夜月群仙佩。绝胜秋风九畹图。　白粲铜盘倾沆瀣。青明宝玦碎珊瑚。却怜不得同兰蕙。一识清醒楚大夫。丹丘柯九思。印记：柯氏敬仲

题跋类别：题跋；作者：邓文原拖尾巴西邓文原；书体：草书；全文：仙子凌波珮陆离。文鱼先乘殿冯夷。斲冰积雪扬灵夜。鼓瑟吹竽会舞时。海上瑶池春不断。人间金夗皿事堪疑。天寒日暮花无语。清浅蓬莱尚问谁。巴西邓文原。印记：双鹤堂印

题跋类别：题跋；作者：倪瓒拖尾至正癸丑中秋同王季耕观于耕渔轩。倪瓒。；书体：行楷书；全文：至正癸丑中秋同王季耕观于耕渔轩。倪瓒。印记：云林

题跋类别：题跋；作者：张雨拖尾句曲外史张雨书；全文：；书体：行书；全文：玉润金明。记曲屏小几。剪叶移根。经年汜人重见。瘦影娉婷。雨带风襟零乱。步云冷。鹅筦吹春。相逢旧京洛。素靥尘缁。仙掌霜凝。国香流落恨。正冰销翠薄。谁念遗簪。水空天远。应想矾弟梅兄。渺渺鱼波望极。五十弦愁满湘云。凄凉耿无语。梦入东风。雪尽清江。右调夷则商国香慢。弁阳老人周密。句曲外史张雨书。印记：句曲外史

题跋类别：题跋；作者：杨椿拖尾杨椿；书体：草书；全文：翠袖冰姿隔暮云。凌波微步袜生尘。江空岁晚情无柰。笑把明珰解赠人。杨椿。印记：子寿

题跋类别：题跋；作者：马畹拖尾扶风马畹；书体：楷书；全文：水精宫阙夜不闭。仙子出游凌素波。何事低头弄明月。不知零露湿衣多。扶风马畹。印记：马文璧印、灌园人

题跋类别：题跋；作者：馀谦拖尾馀谦；书体：行书；全文：陆冬凋百卉。江梅属孤芳。如何蓬艾中。亦有春风香。纷敷翠羽帔。温靓白玉相。黄冠表独立。淡然水仙米庄。弱植愧兰荪。高操推冰霜。湘君谢遗褋。汉水羞捐珰。嗟彼世俗人。欲火焚衷肠。徒知慕佳名。讵识怀真刚。凄凄柏舟誓。恻怆终风章。卓哉有遗烈。千载不可忘。馀谦。印记：凤池染翰

主题:

主要主题：花草水仙 ；其他主题：花草 草

技法:

工笔 皴法 苔点 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页985-986 收藏着录： 故宫书画录（卷八），第四册，页36 收藏着录： 故宫书画图录，第十六册，页363-370 参考书目： 1.〈传宋　赵孟坚　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84。 内容简介（中文）： 赵孟坚（西元一一九九—一二六四年），字子固，为宋宗室。善画水墨梅、竹、兰、水仙，学扬无咎一派。「水仙图」存世有数本，均纸本水墨横卷。运笔尖细稳健，并随翻转之势，晕染浓淡变化。虽全用水墨，却能将花叶的色泽、质感、厚度真实地表现出来，极有「墨分五彩」之妙。惟现存数本「水仙图」中，究竟何者为赵氏真迹，学术界尚有不同看法，迄未获得定论。 内容简介（中文）： 赵孟坚（1199- 约1264），字子固，为宋宗室。理宗宝庆间进士，官至朝散大夫严州守，是南宋末年兼具贵族、士大夫、文人三重身份的知名艺术家。能诗、善书，又擅长以水墨法写梅、兰、竹、石等，尤精白描画水仙，风格秀雅脱俗，深获时人推重。〈水仙图〉传世有数本，均纸本水墨长卷。院藏此卷，虽仅描绘单一种花卉，但构图时而繁密，时而疏朗，极尽变化之能。白描钩线劲利流畅，并随着叶片的翻转，借淡墨微染深浅，将花叶的色泽与质感，如实地呈现出来，极得「墨分五彩」之妙。(20110102) 内容简介（中文）： 赵孟坚（西元一一九九—一二六四年），字子固，号彝斋居士，宝庆二年（一二二六）进士，赵氏性情高迈，知识广博，兼具贵族、士大夫、文人画家的身份。善水墨白描水仙、兰梅、竹石，清而不俗，秀而淡雅。着有《梅谱》传世。现今传世水仙有数本，皆是纸本水墨横卷。此卷运笔尖细稳健，花叶随意翻转，晕染浓淡变化多，虽全用水墨，却将花叶的色泽、质感真实表现出来，有「墨分五彩」之妙。 内容简介（英文）： Chao Meng-chien, a chin-shih degree holder of 1226, was a lofty and scholarly member of the Sung imperial family. With his broad learning, he spanned the noble, scholar-official, and literati classes. He excelled at monochrome ink paintings of narcissi, orchids and plum blossoms, and bamboo and stones. His pure and extraordinary works were elegant and refined. Several surviving versions of narcissi are attributed to Chao Meng-chien. All are horizontal scrolls done in ink on paper. This one has precise and elegantly strong brushwork. The petals twist and turn at will, and the light and dark washes of ink vary. Though done only in ink, the lifelike features of the beautiful flowers shine forth. The beauty of ink truly “can represent all colors”. 内容简介（英文）： Zhao Mengjian (style name Zigu) was a member of the Song imperial house. A Presented Scholar (jinshi) of the Baoqing era under Emperor Lizong, he served up to the post of Grand Master for Closing Court and Governor of Yanzhou. He was a famous late Song artist who a member of the nobility, a scholar-gentleman, and a literatus. Zhao was gifted at poetry and excelled at calligraphy, also specializing in ink renditions of plum blossoms, orchids, and bamboo and stones. He was especially gifted at “ink line” (baimiao) paintings of narcissus, his elegant and untrammeled style held in high esteem by contemporaries. Several versions of Zhao’s narcissus paintings survive, all of them long handscrolls in ink on paper. This version in the Museum collection, though it depicts only one kind of flower, is exceptionally varied in terms of composition, appearing dense at times and sparse at others. The baimiao lines are strong yet fluid, twisting with the turns of the blades. Pale ink in subtle variations of light and dark washes bring out the hue and quality of the blossoms and blades. They appear as if before our very eyes, making this a masterpiece of “colors in monochrome ink.”(20110102)