书体:

色彩:

水墨

装裱形式:

卷

创作时间:

明神宗万历八年（1580）

文字类型:

汉文

质地:

本幅纸引首纸拖尾纸

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
收传印记：清音阁印
收传印记：则之
收传印记：张则之（重一）
收传印记：张孝思赏鉴章
收传印记：方氏珍藏（重一）

题跋资料:

主题:

主要主题：花草兰．蕙兰

技法:

没骨 双钩 皴法 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页2003-2011 收藏着录： 故宫书画录（卷四），第二册，页219-229 收藏着录： 故宫书画图录，第十九册，页281-290 内容简介（中文）： 周天球（西元一五一四－一五九五年），字公瑕，号幼海（明画录作幻海），长洲（今江苏苏州）人。诸生，少游文征明门下，习书法，征明亟许可之，善大小篆、古隶、行、楷，晚能自得蹊径。善写兰草，得郑思肖法。自赵孟頫后写兰已少见，复于公瑕见之。甚为可喜。 本幅画墨兰十馀棵，或偃或仰、或浓或淡、极尽变化之能事，繁花幼蕊，幽香逼人，为周氏二十七岁之作。拖尾名家题识逾六十首，可谓盛矣。 内容简介（英文）： Orchids in Monochrome InkChou T’ien-ch’iu (1514-1595)Ming Dynasty Chou T’ien-ch’iu (style name Kung-hsia; sobriquet Yü-hai) was a native of Ch’ang-chou (modern Suchou). A lower level civil service candidate, he became a student of Wen Cheng-ming at an early age. He also came to study calligraphy under Wen. Chou excelled at large and small ancient, clerical, running, and regular scripts, achieving his own style by his late years. He was gifted at depicting orchids and grass, following the style of Cheng Ssu-hsiao (fl. Ca. 1240-1310). After Chao Meng-fu (1254-1322), few artists depicted orchids, a theme which reappears to our delight in the works of Chou T’ien-ch’iu. Although this painting includes only ten or so orchid plants depicted in various positions and with differing gradations of ink, the manifestations created by the artist appear innumerable. The elegant and fragrant flowers and tender petals seem to press up to the viewer. Even more remarkable is that this work was done when Chou was but 26 years old. Appended to the end of the scroll are over sixty poems penned by famous writers, attesting to the admiration which this work received. 网页展示说明 周天球（西元一五一四－一五九五）字公瑕，江苏苏州人，从学文征明，行书深得文氏认可。周氏受文征明影响，也喜画兰蕙，这件手卷作于六十七岁，随兴写来自有一种风致。画上题跋多达六十馀则，隶草行楷无所拘限，从本幅延伸到拖尾，从咏赞兰蕙到综论画兰技法，足见当时文人之间借此以文会友，乐在其中。周氏复于引首篆书「兰皋清隐」，点明画作的旨趣。 网页展示说明 Chou T'ien-ch'iu was a native of Soochow , Kiangsu province. He studied under the famous artist Wen Cheng-ming, his running script ultimately winning Wen's approval. Chou, under Wen's influence, also enjoyed painting orchids-and-grasses. This handscroll, done at the age of 66, is in his ultimate style that was rendered as the heart moved. More than 60 inscriptions adorn this handscroll and appear in all different script types. From the work of painting itself to the numerous end piece inscriptions, and from the chants in praise of orchids-and-grasses to the discussion of orchid painting methods, revealed herein is the friendly exchange between scholars and the pleasure that they found in it that so epitomizes literati art. Chou also included a frontispiece done in seal script that reads, “Eminence of Orchids, Pure and Remote”, which points to his objective in this work.