书体:

色彩:

设色

装裱形式:

轴

创作时间:

清高宗乾隆九年（1744）

文字类型:

质地:

本幅纸诗塘纸

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：乐善堂图书记
鑑藏宝玺：重华宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
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：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：馀省；题跋位置：本幅；款识：乾隆九年（西元一七四四年）九月。臣馀省奉敕临生恭画。；书体：行楷书；全文： 印记：馀、省

题跋类别：题跋；作者：梁诗正；题跋位置：本幅；款识：无；书体：行书；全文：（梁诗正恭和。文不录。）印记：臣、诗正

题跋类别：题跋；作者：张照；题跋位置：本幅；款识：无；书体：行书；全文：（张照恭和。文不录。）印记：臣、照

题跋类别：题跋；作者：励宗万；题跋位置：本幅；款识：无；书体：行书；全文：（励宗万恭和。文不录。）印记：臣、万

题跋类别：题跋；作者：张若霭；题跋位置：本幅；款识：无；书体：行书；全文：（张若霭恭和。文不录。）印记：臣、霭

题跋类别：题跋；作者：清高宗诗塘 ；书体：行书；全文：东篱秀色。印记：旨远辞文、陶冶性灵

题跋类别：题跋；作者：清高宗诗塘 ；书体：行书；全文：（乾隆御题。诗文不录。）印记：乾隆宸翰、擕笔流云藻

主题:

主要主题：花草菊 ；其他主题：花草 草

技法:

工笔 写意 没骨 皴法斧劈皴

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页812 收藏着录： 故宫书画录（卷八），第四册，页121 收藏着录： 故宫书画图录，第十三册，页105-106 参考书目： 1.〈清　馀省　东篱秀色〉，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178。 内容简介（中文）： 馀省（活动于1741-1757），江苏常熟人。字曾三，号鲁亭。善画山水、花鸟虫鱼等。其父珣，弟穉亦俱善画。本幅作于清高宗乾隆九年（1744），为对花写生之作。结合没骨与钩勒双重技法，钩勒绘黄、紫二色菊花，特重从花心到瓣尖的花色转换，与两种花形的立体表现。没骨叶片边缘水晕干处质感甚为逼真，花朵部分精心钩勒，叶片却率性点染，笔趣相异，全幅风格清雅疏秀，颇有兼取中西绘事之意。(20110102) 内容简介（中文）： 馀省（活动于西元一七四一－一七五七年），江苏常熟人。字曾三，号鲁亭。善画山水、花鸟、虫鱼、兰竹等。其父珣，弟穉俱能绘事。　绘菊花填色甚秾，特重其花色与立体之表现，画叶则随意点染。花叶画法笔趣相异，颇有兼取中西绘技之意。 内容简介（英文）： Yü Hsing was a native of Ch'ang-shu, Kiangsu. His dates are uncertain, but his extant works fall into the years between 1741 and 1757. He came from a family of painters and was able in all genres. The color and pose of the chrysanthemums in this painting are exquisite, emphasis being laid on coloration and three-dimensional effect. The leaves are done with a free wash within their outlines, and the leaves and petals are carefully distinguished. The technique seems to be a combination of both Western and Chinese practices. 内容简介（英文）： Yu Xing, a native of Changshu in Jiangsu, went by the style name Zengsan and the sobriquet Luting. He excelled at painting landscapes, birds-and-flowers, and grasses-and-insects. Both his father (Xun) and his younger brother (Zhi) also excelled at painting.This work, done in the ninth year of the Qianlong Emperor’s reign (1744), is in the “sketching from life” tradition. It combines the techniques of “boneless” washes and outlines filled with colors to depict two types of yellow and purple chrysanthemums. Particular emphasis is placed on the gradations of color from the center of the blossoms to the tips of the petals, giving volumetric effect to the two shapes of blossoms. The quality of the haloed area where the “boneless” color washes along the edges of the leaves dried is particularly realistic, while the blossoms themselves have been meticulously outlined. The leaves, however, were rendered in a more straightforward manner, creating differences in the brushwork. The style throughout the painting, theless, has a pure elegance and clear beauty, combining aspects of both Chinese and Western painting. “Eastern Fence” is an allusion to the ancient poet Tao Yuanming (ca. 356-427), who was also famous for his love of chrysanthemums.(20110102)