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册(折装)

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本幅纸

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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

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收藏着录： 石渠宝笈三编（延春阁），第五册，页2197 收藏着录： 故宫书画录（卷八），第四册，页142 收藏着录： 故宫书画图录，第二十四册，页124-127 内容简介（中文）： 恽寿平（西元一六三三－一六九０年），江苏武进人。初名格，字寿平，后以字行。诗文为毘陵六逸之首，绘画与王时敏等人齐名，合称四王吴恽。画初学山水，后自觉无法与王翬争胜，而专攻花卉。以徐崇嗣没骨法参以己意，成为清代花卉宗师，有常州派之称。 本册画山水十二帧，自题仿宋、元、明各家，款字稍弱。各幅取景或疏朗，或繁密，多用干笔，浅绛设色，笔墨均具自身面目。通册无论情境笔法，皆十分清雅宜人，充分表现恽氏向见之风貌。 内容简介（英文）： Landscapes After the AncientsYün Shou-p’ing (1633-1690)Ch’ing Dynasty Yün Shou-p’ing (original name Ko) was a native of Wu-chin, Kiangsu. His excellence in poetry and prose made him the leader of the Six Untrammelleds of P’i-ling, and his painting was equal in fame to that of Wang Shih-min (1592-1680) and others, who became known collectively as the Four Wangs, Wu, and Yün. It is said that Yün Shou-p’ing, early in his career as a landscape painter, felt that he could not compete with the master Wang Hui (1632-1717), and thus turned to specializing in flower painting. He derived inspiration from the “boneless” method of color washes developed by Hsü Ch’ung-ssu (fl. 11th c.) Yün became a model for other flower painters of the Ch’ing, founding the Ch’ang-chou School. Though Yün was a specialist in flower painting, the twelve leaves in this album represent landscapes done in styles from the Sung (960-1279), Yüan (1279-1368), and Ming (1368-1644) dynasties. Though the signature appears slightly weak, the scenes represented are all either very expansive or dense, having been mostly done in dry brushwork with light touches of color. Both brush and ink are very individualistic. The entire album, regardless of scene or brush mode, is very pure and elegant, fully expressing the manner of Yün Shou-‘ing’s style.