书体:

色彩:

设色

装裱形式:

轴

创作时间:

清高宗乾隆五年（1738）

文字类型:

质地:

本幅纸

释文:

印记资料:

收传印记：白云堂

题跋资料:

题跋类别：作者款识；作者：高凤翰；题跋位置：本幅；款识：山人作画买胭脂。写出洛阳第一枝。艳向三生石畔种。三多富贵赋新诗。乾隆五年（西元一七四０年）庚申麦秋写于竹西亭中。五十八岁老人翰左手并题。；书体：草书；全文： 印记：凤、翰、左手

主题:

主要主题：花草牡丹 

技法:

工笔 

参考资料:

收藏着录： 黄君璧先生捐赠文物特展目录，页41-42、50 内容简介（中文）： 高凤翰（1683－1748），字西园，号南村，晚号南阜。早岁即扬名文坛，工书画，画花卉尤奇逸。好藏砚石，亦善刻印。晚年病痺，用左手挥洒，笔愈苍辣。此帧是高氏五十八岁之作，画牡丹盛开，红白相映。当时其右手已残，无论是画作或是画幅上的款识，都以左手完成。全作笔墨随意，不拘成法；款识的书法运笔潇洒，气韵流动，观其技艺实不输右手。黄君璧先生捐赠于民国74年。(20110204) 内容简介（中文）： 高凤翰（西元一六八三－一七四八），字西园，号南村，晚号南阜。官徽州绩溪知县。早岁即扬名文坛，工书画，画花卉尤奇逸。好藏砚石，亦善刻印。晚年病痺，用左手挥洒，笔愈苍辣。本幅画牡丹盛开，红白相映，笔墨颇随意。款署左手画，可知南阜，虽病右手，然不废画业，以左手画之，观画技不输右手，高氏可谓画坛奇人之一。本幅为黄君璧先生捐赠。 内容简介（中文）： 高凤翰（西元一六八三—一七四八年），字西园，号南村，晚号南阜。早岁即扬名文坛，工书画，画花卉尤奇逸。好藏砚石，亦善刻印。晚年病痺，用左手挥洒，笔愈苍辣。此帧是高氏五十八岁之作，画牡丹盛开，红白相映。当时其右手已残，无论是画作或是画幅上的款识，都以左手完成。全作笔墨随意，不拘成法；款识的书法运笔潇洒，气韵流动，观其技艺实不输右手。本幅为黄君璧先生捐赠。 内容简介（英文）： Gao Fenghan, a native of Shandong province, was a scholar-official. His literary talents were recognized at an early age, and he was also skilled as a painter and a calligrapher. Late in life, however, he was stricken with partial paralysis. From that time on, he used his left hand to paint and write, resulting in the unique appearance of his brushwork. This painting depicts peonies in full bloom. Red and white compete in splendor, borne from a brush without inhibition or restraint. Though the inscription mentions that Gao painted this with his left hand, the style is still strong and free. He is thus ranked as one of the more unusual figures in the history of Chinese art. This work was donated to the National Palace Museum by Mr. Huang Chun-pi. 内容简介（英文）： Kao Feng-han, a native of Shantung province, was a scholar-official. His literary talents were recognized at an early age, and he was also skilled as a painter and a calligrapher. Late in life, he was stricken with partial paralysis. From that time on, he used his left hand to paint and write, resulting in the unique appearance of his brushwork. This painting depicts peonies in full bloom. Red and white compete in splendor, born from a brush without inhibition or restraint. Though the inscription mentions that Kao painted this with his left hand, the style is still strong and free. He is thus ranked as one of the more unusual figures in Chinese art history. This work was donated to the National Palace Museum by Mr. Huang Chün-pi. 内容简介（英文）： Gao Fenghan (style name Xiyuan, sobriquet Nancun, late sobriquet Nanfu) was recognized for his literary talents at an early age and also skilled at painting and calligraphy, excelling in particular at flower painting. Furthermore, Gao was an avid collector of inkstones and a fine carver of seals. Late in life, however, he was stricken with partial paralysis, and from that time on used his left hand to paint and write, giving his brushwork even greater boldness. This work, done at the Chinese age of 58, depicts peonies in full bloom as red and white blossoms contrast with each other. At that time Gao’s right hand had already been paralyzed, so here both his painting and inscription at the top were done with his left hand. Brush and ink flow with ease to the artist’s content and unrestrained by convention. The calligraphy in the inscription features dashing and refined movement as the brush moved with harmony, demonstrating that Gao’s skill as a left-hander was actually not inferior to that as a right-hander.Mr. Huang Chün-pi donated this hanging scroll to the National Palace Museum in 1985.(20110204)