书体:

色彩:

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：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：石渠定鑑
鑑藏宝玺：宝笈重编
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

题跋资料:

题跋类别：作者款识；作者：邹一桂；题跋位置：本幅；款识：臣邹一桂恭画；书体：楷书；全文： 印记：一桂图书、派接徐黄

主题:

主要主题：山水夜景（月景）月景主要主题：花草梨花 

技法:

没骨 

参考资料:

收藏着录： 石渠宝笈续编（养心殿），第三册，页1205 收藏着录： 故宫书画录第四册（卷八），页103 收藏着录： 故宫书画图录，第十一册，页265-266 内容简介（中文）： 邹一桂（西元一六八六至一七七二年），江苏无锡人。字原褒，号小山。又号让卿，晚号二知老人。雍正五年进士，历官礼部侍郎，加尚书衔。精擅花卉，并通达画理，着有小山画谱。 本幅绘梨花一干，由画幅左上方垂探出枝，枝梢布叶生花，极有条理。梨花由含苞至全绽，或正或侧，曲尽其态。花树后，一轮明月由暗影中托出，益发显出梨花的清明之姿。画法乃仿自恽寿平没骨法；花瓣直接用色点染出形彩，叶脉筋络再略加线条钩画，极为柔和典雅。 内容简介（中文）： 邹一桂（西元一六八六－一七七二年），字原褒，号小山，江苏无锡人。雍正五年（一七二七）进士，历官礼部侍郎，为清初宫廷花卉名家，且精通画理，着有《小山画谱》。 梨花主干由画幅右上方垂探出枝，条畅自如，布叶生花，曲尽其态，树后暗影中托出明月一轮，更现梨花明净韵致。师恽寿平没骨技法，以色点染花瓣形彩，线条钩画叶脉筋络，然画风较恽工整精致，别具宫廷品味。(20110405) 内容简介（英文）： Zou Yigui (style name Yuanbao, sobriquet Xiaoshan) was a native of Wuxi, Jiangsu. A Presented Scholar (jinshi) of 1727, he served up to Vice Minister of Rites. Also a famous flower painter at the early Qing court, his works are masterful and orderly. He left behind Painting Manual of Xiaoshan.Here a peach tree branch hangs from the upper right, bending naturally and adorned gracefully with leaves and blossoms in detail. Behind the branch with shadows is a bright moon, further enhancing the blossoms’ clear, pure harmony. With the “boneless” washes of Yun Shouping, colors were used for the petals and forms, with strokes demarcating the leaf outlines and veins. The style is deliberate with the detail and refinement of the court manner.(20110405) 内容简介（英文）： Tsou I-kuei (style name Yüan-pao; sobriquets ‘Little Mountain’ and Jang-ch’ing) was a native of Wu-hsi, Kiangsu. In 1727 he took his Advanced Degree, and eventually served as vice-president of the Ministry of Rites. He excelled in flower painting, and in addition was well-versed in the principles of painting, authoring a book on painting theory, Hsiao-shan Hua-p’u. The branch of a flowering peach hangs downward from the right-hand corner of the composition, leaves and flowers emerging all the way to its tapering ends. The blossoms burst forth in varying degree, from new buds to fully open blooms; some are askew and others depicted frontally, in a very poetic arrangement. Behind the peach tree, a bright, full moon shines, bathing the natural beauty of the blossoms in pale light, complementing their delicacy. The brush work, similar to Yün Shou-p’ing’s, is in the “boneless” manner. The flowers are shaped directly by their color, while the leaves are veined and outlined. The whole scene was rendered in a tender and elegant fashion.