书体:

色彩:

设色

装裱形式:

册(推蓬装‧折扇式)

创作时间:

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：江介；题跋位置：本幅；款识：香雪笼烟春澹沲。粉痕浥露玉玲珑。拟南田翁意似。止亭大兄雅属。石如江介。；书体：楷书；全文： 印记：石如

主题:

主要主题：花草芍药 

技法:

写意 没骨 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页164 收藏着录： 故宫书画图录，第三十册，页298-301 参考书目： 1.〈清江介牡丹〉，收入国立故宫博物院编辑委员会编，《牡丹名画特展图录》（台北：国立故宫博物院，1987年四月初版），页49。2.〈清　江介　牡丹〉，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116。 内容简介（中文）： 江介（19世纪前期），浙江杭州人。原名鑑，字石如。习画初工人物，高古似陈洪绶（1599-1652），后专事花卉，从陈淳（1483-1544）入手，而上窥宋元，隽逸疏澹。 本幅选自＜清花卉画册＞，特绘白牡丹，舍牡丹的艳丽，表现其清幽一面，并以扇面形式来呈现，添加文人意趣。自题中言拟花卉名家恽寿平笔意，果得其雅淡。而江介的书风师法欧阳询（557-641），行笔多起伏，也见于钩勒花瓣或叶之筋脉处，使花叶更觉灵活，有律动感。(20110102) 内容简介（中文）： 清江介牡丹江介（西元十九世纪前期），浙江杭州人。原名鑑，字石如。习画初工人物，高古似陈洪绶，后专事花卉，从陈淳入手，而上窥宋元，隽逸束澹。书法欧阳询，妙于波磔，勾勒花瓣时亦然。间作山水，亦得元人閒冷之趣。此为「清花卉画册」之一开。画牡丹二朵，其瓣先以淡墨钩画轮廓，白粉打底。再用藤黄、汁绿分染。而皆以朱膘点蕊，凭添妩媚。枝叶部分则直接以色彩点画，略上石绿提示明暗，后以汁绿加花清或墨钩出叶脉筋络，于是精神乃现。作者自题拟恽寿平笔意，风格雅淡。 内容简介（英文）： The petals of these two peonies were first outlined in pale ink on a white base and then filled in with rattan yellow and translucent green washes; the pistils were done in vermilion. The colors of the branches and stems were applied directly and slightly shaded in opaque mineral green; the leaf veins were later outlined in translucent green or indigo. The artist’s colophon claims that the brushwork is modeled after that of Yün Shou-p’ing.Chiang Chieh was from Hangchow, Chekiang. At first he painted human figures modeled on those of Ch’en Hung-shou, then specialized in flower paintings, in which he emulated Ch’en Ch’un and Yüan and Sung styles. In calligraphy he followed Ou-yang Hsün and excelled at the “broken ink” method, a technique he also used in his flower paintings. He occasionally painted landscapes, in which he attained to the cool sophistication of Yüan artists. 内容简介（英文）： Jiang Jie, a native of Hangzhou in Zhejiang, originally had the name Jian and went by the style name Shiru. In studying painting, he first learned how to do figures, achieving a lofty manner similar to that of Chen Hongshou (1599-1652). He later specialized in flowers, initially learned from the style of Chen Chun (1483-1544) before turning to the Song and Yuan dynasty masters, achieving great naturalness and lightness.This work comes from “Album of Qing Flower Paintings” and specifically depicts white peony blossoms. Eschewing the peony’s gorgeous beauty, the artist expressed its serene seclusion instead, using the original folding fan format to portray it with a literatus touch as well. The artist’s inscription on the work mentions imitating the brush manner of the famous flower painter Yun Shouping (1633-1690), indeed achieving Yun’s elegant lightness. Jiang Jie’s style of calligraphy here is also patterned after that of Ouyang Xun (557-641). Many fluctuations are seen in the brushwork delineating the petals and leaf veins, giving the flowers and leaves a sense of spirit and rhythm.(20110102)