书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

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：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：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

题跋资料:

题跋类别：作者款识；作者：柳遇；题跋位置：本幅；款识：柳遇；书体：楷书；全文： 印记：柳、遇

主题:

主要主题：花草罂粟 

技法:

工笔 双钩 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页672 收藏着录： 故宫书画录（卷五），第三册，页548 收藏着录： 故宫书画图录，第十一册，页1-2 参考书目： 1.〈清　柳遇　画莺粟〉，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146。 内容简介（中文）： 柳遇，字仙期，清代乾隆年间（1736 -1795）江苏吴县人。特长于临摹古代名迹，人誉其仅亚于仇英（约1494-1552）。画人物精密生动，布置树石栏廊、幽花细草、玩物器皿等，俱皆佳妙。 罂粟（莺粟）的种子是制作鸦片和镇静剂的原料，夏季开花，单生枝头，花形大而豔丽，有红、紫、白等色，植株具备高度的观赏价值，故为画家所喜。本幅以钩勒填彩法画绘罂粟花，各色具足，赋彩绚烂华美至极，堪为清代工笔花卉的代表，惟较诸恽南田（1633-1690），雅韵稍嫌不及尔。(20110102) 内容简介（中文）： 柳遇，清康干间江苏吴县人，字仙期。工人物，精密生动，布置树石栏廊，幽花细草，以及玩物器皿，色色佳妙，不亚于仇英。 设色画莺粟一丛，傅彩艳丽，用笔精劲，以较毘陵恽氏，雅韵差为不及耳。 内容简介（英文）： Liu Yü, tzu (style name) Hsien-ch’i, was a native of Suchou in Kiangsu province. He excelled in figure painting, achieving a sense of vitality in his figures. His compositions, trees, rocks, balustrades, flowers, grasses, thinkets, utensils, and his use of color were all equal to those of the Ming Dynasty painter Ch’iu Ying (fl. ca. 1490-1552). The application of color in this painting to depict a cluster of poppies is fine and beautiful. The use of the brush is delicate yet forceful. The artist’s elegance compares with that of Yün Shou-p’ing. 内容简介（英文）： Liu Yu (style name Xianqi) was a native of Wuxian in Jiangsu under the Qianlong emperor (r. 1736-1795). He was especially skilled at copying the works of ancient masters, with people praising him as second only to Qiu Ying (ca. 1494-1552) of the Ming dynasty. Liu’s figure paintings were precise and vivid, the arrangement of trees and rocks, railings and corridors, serene flowers and delicate grasses, and antiquities and vessels all being marvelous.The seedpod of the poppy is a source of raw material for opium and natural sedatives. The plant blooms in summer with a single blossom both large and beautiful, coming in such colors as red, purple, and white. The plant is highly valued also for its beauty, making it a natural focus of attention among painters. This depiction of poppies done in the technique of outlines filled with colors shows the full hues and opulent beauty of the blossoms. It can be considered a representative of fine-line flower painting of the Qing dynasty, ranking only slightly lower than that of Yun Shouping (1633-1690) in terms of elegant harmony.(20110102)