书体:

色彩:

水墨

装裱形式:

册(推蓬装‧折扇式)

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

收传印记：研香阁棣邨珍赏之印
收传印记：柿叶山房秘玩之章

题跋资料:

题跋类别：作者款识；作者：陈继儒；题跋位置：本幅；款识：雪满山中。月明林下。眉公。；书体：行书；全文： 印记：醇、儒

主题:

主要主题：花草梅（白．红．蜡梅）白梅

技法:

写意 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页163 收藏着录： 故宫书画图录，第三十册，页128-131 参考书目： 1.刘芳如，〈明陈继儒疏枝横玉〉，收入国立故宫博物院编辑委员会编，《画梅名品特展》（台北：国立故宫博物院，1991年元月初版），页92。 内容简介（中文）： 陈继儒（西元一五五八－一六三九年），江苏华亭人，字仲醇，一字眉公，号糜公。天赋多智，少有高才，诗文书画皆所善长，与同郡董其昌齐名。画擅水墨梅、竹，山水亦气韵空远。董其昌尝评之：「虽草草泼墨，而一种苍老之气，岂落吴下画师恬俗魔境。」眉公亦自言：「若着色相尚，便与富翁俗僧无异。」「疏枝横玉」为「明花卉画册」第五幅，于泥金箑面上，纯假水墨挥扫枝干蕊萼，笔笔不重形色，然益能显现写意花卉之隽永情趣。直可以「所作皆在笔墨畦径之外」许之。 内容简介（中文）： 陈继儒，字仲醇，外号糜公（一作眉公），江苏华亭人，生于世宗嘉靖三十七（公元一五五八）年，卒于思宗崇祯十二（公元一六三九）年。天赋多智，少有高才，诸子百家文章无不研读，擅长做诗、作文外，又能书法绘画。　他的绘画态度是「无所为而画」，绘画主张是「重意象而不重形色」，所以，无论是山水、梅、竹、都是落笔草草，似像似非，在一片水墨糢糊浓淡中，反而能见出物形的隽永情趣来。 内容简介（英文）： Ch’en Chi-ju (tzu Chung-shan, hao Mi-kung) came from Hua-t’ing in Kiangsu. An extremely gifted scholar, he showed his talents early in life and studied all branches of learning. Known as a poet and essayist as well as a calligrapher and painter. he belonged to the circle of Hua-t’ing scholar-painters which included Tung Chi-ch’ang and exercised a seminal influence over painting in their own time and later. Ch’en’s ideal in painting was to ignore that which is (the world of external forms) and to concentrate on expressing an idea rather than the likeness of an object. Thus, regardless of whether he painted landscape, plums, or bamboo, he wielded the brush in unrestrained freedom, spontaneously mixing thick and thin washes in a single painting. At the same time, however, he succeeded in bringing out the essential characteristics of the forms in his paintings. 内容简介（英文）： Ch’en Chi-ju (style name Chung-ch’un and Mei-kung; sobriquet Mo-kung) was a native of Hua-t’ing, Kiangsu. A gifted scholar who revealed many talents early in life, Ch’en excelled at poetry, writing, calligraphy, and painting; becoming as famous as his contemporary, Tung Chi–ch’ang. Ch’en specialized in painting plum blossoms and bamboo with monochrome ink. Ch’en Chi-ju’s landscapes also had a vast atmosphere to them. Tung Ch’i-ch’ang once commented that “although he [Ch’en Chi-ju] heedlessly splashed ink to impart a kind of hoary and archaic energy [to his paintings], how can he be comsidered below the Wu [school] painters and in the realm of empty commonality?” Ch’en himself also once wrote, “If I likewise were to apply colors, [my paintings] would be no different from that of rich men and banal monks [i.e., everybody else].” “Scattered Branches of Blossoming Jade” is a painting, done on a fan speckled with gold leaf, in pure monochrome ink spread on to depict the plum trunk, branches, stamens, and calyxes. Not one of the brushstrokes gives emphasis to form or color, being able to give free rein to manifesting the intriguing atmosphere of the blossoms in “sketched ideas.” Thus, this style allows for “everything rendered to fall outside the rigld rules of brush and ink.”