书体:

色彩:

设色

装裱形式:

册(推蓬装‧折扇式)

创作时间:

清世祖顺治十四年（1657）

文字类型:

质地:

本幅纸

释文:

印记资料:

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：姚魏丰神。丁酉（西元一六五七年）六月上澣。在北郭草堂。橅徐崇嗣没骨华图。南田寿平。；书体：行楷书；全文： 印记：恽、寿平

主题:

主要主题：花草牡丹 

技法:

没骨 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页163 收藏着录： 故宫书画图录，第三十册，页286-289 参考书目： 1.〈清　恽寿平　姚魏丰神〉，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164。 2.邱馨贤，〈为花传神韵—恽寿平的没骨花卉〉，《故宫文物月刊》，第337期（2011年4月），页58-67。 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，后以字行。又字正叔，号南田。诗文为毘陵六逸之首，画与清四王相埒，合称四王吴恽。画初学山水，后自觉无法与王翬争胜，而专攻花卉。以徐崇嗣没骨法参以己意，别具风格，成为清代花卉画宗师。 此幅属「清花卉画册」。画黄色、紫色牡丹各一朵，自题曰：「姚魏丰神」。姚黄、魏紫为牡丹中之名品，各以出自民间姚氏人家与魏相仁溥家中而得名。「群芳谱」中曾谓：「姚花为王，魏乃为后」，并称花王花后。 内容简介（中文）： 恽寿平（1633-1690），初名格，字寿平，后以字行，江苏武进人。初善作山水，因自谦无力与王翬（1632-1717）争胜，遂改工花卉。画法远承徐崇嗣（10世纪后半）之没骨法，又参以己意，风格柔美秀雅，蔚为清代花卉画宗师。本幅选自〈清花卉画册〉，由折扇改装为册页。采没骨法，画黄、紫色牡丹各一，幅左自题曰：「姚魏丰神」。按，姚黄、魏紫都是牡丹花中的极品，各因出自姚、魏二家而得名。王象晋《群芳谱》即谓：「姚花为王，魏乃为后」，故画家每喜将花王花后延揽入丹青。(20110102) 内容简介（英文）： Yun Shouping originally had the name Ge and the style name Shouping, by which he later went. A native of Wujin in Jiangsu, he at first excelled at landscape painting but later felt that he could not compete with the master Wang Hui (1632-1717), turning to flowers instead. His style traces all the way back to the “boneless” method of washes used by Xu Chongsi (fl. latter half of 10th c.), but with his own interpretation as well. With his tender and elegantly beautiful manner, Yun Shouping became a master of flower painting in the Qing dynasty praised by many.This leaf, originally a folding fan, comes from “Album of Qing Flower Paintings.” It employs the “boneless” method of washes to depict two peony blossoms, one in yellow and the other purple, the title at the left reading, “The Great Spirit of Yao and Wei.” Both the Yao yellow and Wei purple varieties of peony are rare and so named after the surnames of the person who cultivated them. Wang Xiangjin in his Record of All (Flowers) Fragrant states: “The Yao blossom is king and the Wei its queen,” which is one reason why artists have often included the “King and Queen of Flowers” in their paintings. (20110102) 内容简介（英文）： From Wu-chin in Kiangsu, Yün was the leading easayist and poet of the “Six Gentlemen of P'i-ling” and was one of the most outstanding artists of the Ch'ing dynasty. Originally a master of landscapes, Yün felt he could not equal Wang Hui in this genre and consequently specialized in paintings of flowers and plants. He incorporated the “boneless” wash method of the Northern Sung painter Hsü Ch'ung-ssu into his own repertoire and thus created a new style, for which he became known as a master of flower painting. Yün Shou-p'ing has depicted two rare “Yellow Yao” and “Violet Wei” peonies, himself describing them as “graceful and slender.” (The flowers are so called because they were bred by gentlemen surnamed Yao and Wei respectively.) The Book of Flowers has described the flowers’ regal appearance, saying that “the Yao blossom is king; the Wei blossom, queen.”