书体:

色彩:

水墨

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：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
鑑藏宝玺：宣统御赏
鑑藏宝玺：无逸斋精鑑玺

题跋资料:

题跋类别：作者款识；作者：沈周；题跋位置：本幅；款识：写得东篱秋一株。寒香晚色淡如无。赠君当要领赏此。归去对之开酒壶。沈周。；书体：行楷书；全文： 印记：启南

主题:

主要主题：花草菊 

技法:

写意 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1792 收藏着录： 故宫书画录（卷五），第三册，页329 收藏着录： 故宫书画图录，第六册，页237-238 参考书目： 1.江兆申，〈沈周墨菊　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299。 内容简介（中文）： 沈周（西元一四二七至一五0九年），长洲人，字启南，号石田，亦称白石翁。诗书画兼擅，山水花卉禽鱼悉入神品，为明四大家之一。秋菊一株，亭亭玉立，用笔极生动而极稳定，觉于嬝嬝净妍之中，自有风霜之气。款书亦着意，其厚重沉彻处，真所谓导之泉注，顿之山安，书画相彰，可称联璧矣。 内容简介（中文）： 秋菊一枝，亭亭独立，上题七言绝句一首，字与画几各佔纸之一半，中留微隙。宋以前画名款外绝无题字，而不署名款者居多。北宋惟徽宗有自题画幅。至南宋，马和之马远马麟之作，宋宁宗及杨皇后多在画上题诗词。至钱选赵孟頫后自题之作始数数见，然皆字不掩画。沈周此题几书与画地位并重，唐寅文征明亦间有此种。画无年款，疑与写生册为同时先后之作。弘治甲寅（一四九四）六十八岁。 内容简介（英文）： 1494 Shen Chou Monochrome Ink Chrysanthemums The painting depicts a single chrysanthemum plant standing alone with a four-line stanza of seven-charater lines above. The painting and the poem each occupy a half of the paper. The center is empty. Before the Sung Dynasty the artist seldom wrote anything other than his signature on his paintings, and many paintings were not even signed. In the Northern Sung only the Emperor Hui-tsung (r. 1100-1125) himself inscribed paintings. In the Southern Sung the Emperor Ning-tsung (r. 1195-1225) and Empress Tang often wrote poems on the paintings of Ma Ho-chih, Ma Yüan, and Ma Lin. It was not until the early Yüan Dynasty (1279-1368) that such painters as Ch’ien Hsüan and Chao Meng-fu and their followers increasingly wrote inscriptions on their own works, but even then the inscriptions were kept subordinated to the painting itself. Shen Chou, however, in this work gives equal importance to the painting and calligraphy, and T’ang yin and Wen Cheng-ming followed his example. “Monochrome Ink Chrysanthemums” is not dated, but it was probably painted in the same year as an album of Sketches from Life dated 1484, when the painter was 67 years old. 内容简介（英文）： Shen Chou was born into a distinguished family of Soochow scholars and artists. He did not seek an official career in government, but chose a quiet life devoted to his interests in poetry, painting and calligraphy. In painting, Shen followed the tradition of the great Yuan dynasty landscapists and Sung dynasty masters Tung Yuan and Chu-jan. A spray of autumn chrysanthemum lies poised on the picture surface. The brush is handled with great vigor and control, giving one the feeling that amidst the pure beauty, there is a weathered crispness to the blossoms and the stalk. The long inscription was also executed with great care. The full-bodiedness carries a sinking penetration recalling Sun Ch'ien-li's (T'ang dynasty) words that the fluency possesses the directness of spring water and the pauses the stability of a mountain. Here the poetry and painting truly complement each other.