书体:

色彩:

设色

装裱形式:

轴

创作时间:

清圣祖康熙二十九年（1690）

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
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：蒋廷锡；题跋位置：本幅；款识：庚午（西元一六九０年）嘉平月拟白阳山人笔意。南沙蒋廷锡。；书体：行书；全文： 印记：廷锡之印、文学侍从之臣

主题:

主要主题：节令与二十四节气年节岁朝主要主题：花草牡丹 主要主题：花草水仙 ；次要主题：果蔬柿 ；次要主题：器用花器花盆；次要主题：花草灵芝 ；其他主题：山水奇石 

技法:

写意 没骨 双钩 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页99 收藏着录： 故宫书画图录，第十一册，页43-44 参考书目： 1.杜书华，〈清蒋廷锡画岁朝图〉，《故宫文物月刊》，第9期（1983年12月），封底里。 内容简介（中文）： 蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，一字酉君，号西谷、南沙。历官文华殿大学士，有政声，未第时与顾雪坡游，善写生。在朝为官后，矜重不苟作，偶为一二，又为宫禁所宝，流传眞迹绝少。 宫廷中所见南沙之作，多秾艳富丽。此帧成于二十二岁，清雅绝俗，胜于晚年。 内容简介（中文）： 蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，号酉君，又号西谷。官至文华殿大学士，工画花卉草虫，以逸笔写生，没骨花鸟画继承恽寿平风格。 蒋廷锡花卉之作与传统文人墨卉有深远关系，明代沈周、陈淳、徐渭对蒋氏有相当的影响。「岁朝图」为其仿陈淳之作，然风格仍较偏向文雅规矩一路，应与其个性及在朝为官有关系。 内容简介（英文）： Chiang T’ing-hsi (style names Yang-sun and Hsi-chün; sobriquet Hsi-ku) was a native of Ch’ang-shu. As an official, he rose to the rank of Grand Secretary of the Wen-hua Hall. He excelled at depicting insects-and-flowers, and he also painted from nature using a spontaneous manner. In terms of bird-and-flower painting in the “boneless” (wash) style, he followed the style of Yün Shou-p’ing (1633-1690). Chiang T’ing-hsi’s bird-and-flower paintings are closely related to those of traditional literati painters. The works of such Ming dynasty (1368-1644) artists as Shen Chou (1427-1509), Ch’en Ch’un (1484-1544), and Hsü Wei (1521-1593) had a profound impact on Chiang’s paintings. This painting is a copy after a painting by Ch’en Ch’un, and the style follows closely in the elegant manner of literati painting. The work is probably related to his personality and his career as an artist. 内容简介（英文）： Chiang T’ing-hsi (style names Yang-sun and Hsi-chün; sobriquets Hsi-ku and Nan-sha) was a native of Ch’ang-shu, Kiangsu. He went on to serve as Grand Secretary of the Wen-hua Hall. Before taking office, Chiang befriended Ku Hsüeh-p’o and enjoyed painting from nature. After Chiang became an official, however, his paintings became more carefully executed and done only occasionally. His works were treasures of the Forbidden City, so few examples were done outside the court. Of the extant works by Chiang T’ing-hsi, most are heavily colored. This painting was executed at the age of 22, but it still possesses a grace and elegance far surpassing works of his later years.