书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：沈周；题跋位置：本幅；款识：玉兰挺芳枝。幽兰出深谷。生长虽不同。气味各芬馥。沈周。；书体：行书；全文： 印记：启南、石田

题跋类别：题跋；作者：祝允明；题跋位置：本幅；款识：祝允明；书体：行书；全文：玉树芝兰花。清香暗中起。日暮怀美人。盈盈隔湘水。祝允明。 印记：允明

题跋类别：题跋；作者：吴宽；题跋位置：本幅；款识：匏庵吴宽；书体：行书；全文：一枝香雪亚墙东。千树夭桃枉自红。肠断不禁明月夜。缟衣珠珮倚微风。匏庵吴宽。印记：原博

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：乙酉暮春御题；书体：行书；全文：（乾隆乙酉御题。诗文不录。）印记：干、隆

主题:

主要主题：花草玉兰 主要主题：花草灵芝 主要主题：花草兰．蕙 ；次要主题：山水奇石 

技法:

写意 皴法 苔点 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1790 收藏着录： 故宫书画录（卷五），第三册，页327 收藏着录： 故宫书画图录，第六册，页233-234 参考书目： 1.江兆申，〈沈周芝兰玉树　轴〉，收入国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975年初版，1976年再版，1981年三版），页296。 内容简介（中文）： 沈周（西元一四二七至一五○九年），江苏长洲人。字启南，号石田，又号白石翁。为人宽厚有大度，能诗文，工书法，又善画，作品造型稚拙，用笔钝劲，用墨厚重，予人一种质重有力，古趣盎然之感。 坡上灵芝兰草，后倚大石，石后玉兰一株。通幅用笔极秀，与晚年笔趣大异，文征明所学者多此种。幅上之吴宽题，与明宪宗戊戌（一四七八）年吴题林逋二札字体甚近；同年沈周所作赠吴之行画卷，用笔秀雅又与此相类，故本幅或亦此年所作，沈周时年五十二岁。 内容简介（中文）： 坡上灵芝兰草，后倚大石。玉兰花一株，在石后出枝，每枝三五花，用笔极秀，与晚年笔趣大异，文征明所学者多此种。疑成化戊戌（一四七八）所作。成化乙未（一四七五）吴宽父卒，奔丧返苏州。戊戌（一四七八）正月廿六日，吴宽召周，留宿「医俗亭」，道旧竟日。二月吴宽来观林逋手书二札，因为题识。二月十八日，又过有竹居题沈周积雨小景幅。此幅吴宽题与吴题林逋二札，字体甚为接近；而同年沈周又作赠吴宽行画卷，画笔秀雅又与此幅相类；故定为此年。沈周五十二岁，吴宽四十三岁，祝允明题诗时或稍晚，是年允明才十八岁。 内容简介（中文）： 沈周（西元一四二七－一五○九年），江苏长洲人。字启南，号石田，又号白石翁。为人宽厚有大度，能诗文，工书法，又善画，为明四家之首。　坡上灵芝兰草，后倚大石，石后玉兰一株。通幅用笔极秀，与晚年笔趣大异。此幅有吴宽题，字体与吴宽题〈宋林逋二札〉甚为接近；而同年沈周又作〈赠吴宽行画卷〉，画笔秀雅又与此幅相类，故定成化戊戌（一四七八）所作，时沈周五十二岁。(20120103) 内容简介（英文）： Shen Zhou (style name Qi’nan, sobriquets Shitian and Baishiweng), a native of Changzhou (Suzhou) in Jiangsu, was a generous learned man and a skilled poet, calligrapher and painter, being known as the head of the Four Ming Masters.Immortal fungi grow with orchids on a slope with a large rock behind. Magnolia blossoms are seen to the rear. The brushwork throughout is extremely refined and quite unlike Shen’s late work. Shen’s friend Wu Kuan inscribed the painting in a style of calligraphy that closely matches the writing seen in an inscription Wu wrote on Lin Bu’s calligraphy in 1478, and this painting may have thus been done at that time, when Shen was 52 by Chinese reckoning.(20120103) 内容简介（英文）： 1478 Shen Chou Ling-chih, Orchids, and Magnolia Ling-chih and orchids are growing on a slope; behind them is a large rock. A magnolia tree shows its branches from behind the rock; each branch bears three to five flowers. The handling of the brush is extremely delicate, vastly different from the blunt roughness of Shen Chou’s later paintings. This is the aspect of his style which was studied by Wen Chen-ming. It was probably painted in 1478. In 1475 Wu K’uan’s father had died, and Wu had rushed back to Suchou from Peking for the funeral. On the 26th of the first month of 1478, he summoned Shen Chou to his I-su Pavilion, where they spent the night talking. In the second month, Wu K’uan went to Shen Chou’s home to see the “Two Letters” of Lin P’u and wrote an inscription on it. On the 18th he again paid a visit to the Bamboo Cottage and inscribed a small painting by Shen Chou. Wu’s inscriptions on “Ling-chih, Orchids, and Magnolia” and on the Lin P’u album are very similar in style. In the same year, Shen Chou painted a handscroll as a gift for Wu K’uan, who was about to leave for the capital, his three years of mourning for his father now past. The elegance and delicacy of the brushwork in the handscroll are close to the “Ling-chih”, making it likely that the two were executed in the same year, when Shen Chou was 51 and Wu K’uan 42. Chu Yün-ming also inscribed a poem on the painting, but probably at a later time, as he was only 17 years old in 1478. 内容简介（英文）： Shen Chou was a native of Suchow, Kiangsu. He was a generous man, learned, and a skilled poet, calligrapher and painter. His paintings often give the appearance of being slightly awkward, with blunt brushwork which belies their subtle skill. They present strong, weighty imagery that calls forth a feeling of great antiquity. Immortal fungus grows with orchids on a slope with a large rock behind. A magnolia is seen in the rear. The brushwork is extremely refined and quite unlike Shen Chou’s late work. Shen Chou’s friend Wu K’uan inscribed the painting in a style of calligraphy that closely matches the writing seen in an inscription Wu wrote on Lin Pu’s calligraphy in 1478, and this painting may have been done at that time, when Shen Chou was fifty-one.