【作品基本信息】
| 作者 | 翁同龢 |
| 品名 | 画梅并题图轴 |
| 朝代 | 清代 |
| 文件大小 | 18.0MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 2118×2834 |
| 尺寸（CM） | 17.93×23.99 |
| 创作时间 | 清光绪二十六年(1900) |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画,书法 |
| 品名 | 清翁同龢画梅并题 轴 Painting of Plum Blossoms with Inscription |
| 分类 | 绘画 |
| 作者 | 翁同龢 |
| 创作时间 | 清光绪二十六年(1900) |
| 数量 | 一轴：二幅 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 上幅 | 24.8×30.7 |
| 下幅 | 23.6×45.2 |
| 全幅 | 219.8×49 |
质地
| 【质地位置】 | 【质地】 |
| 上幅 | 纸 |
| 下幅 | 纸 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 签 | 谭泽闿 | 包首 | 隶书 | 翁松禅画梅幅。庚子（公元一九００年）笔。 | |
| 印记： 瓶斋秘籍 |
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印记资料
| 【印记类别】 | 【印记】 |
| 收传印记 | 习是斋藏天随阁珍品 |
| 收传印记 | 雨廔审定（重一） |
| 收传印记 | 木盦 |
| 收传印记 | 木厂 |
| 收传印记 | 习是斋藏天随阁遗箧珍品 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 谭伯羽谭季甫先生昆仲捐赠文物目录，页88、206、352-353 |
| 网页展示说明 | 翁同龢（公元１８３０一１９０４年），江苏常熟人。字叔平，晚号瓶生，自署松禅，又署瓶斋居士。咸丰六年（１８５６）进士，为晚清名臣。书法早年学习唐代的欧阳询、褚遂良，兼取元赵孟頫和明董其昌的笔意，中年法唐之颜真卿和宋苏轼、米芾，并转习北碑及汉隶。 此为翁同龢书画自娱的作品，书和画各一幅，上下装裱的型式在轴中并不常见。前人曾说他间作山水木石及杂画，随意点染，古趣盎然，在此当可略窥端倪。下幅的一枝墨梅，笔简而有书法意趣，甚为古拙；上幅以隶书书「山华礧落图以自娱」句，用笔圆钝，其中带有楷书、篆书的意味，恰与画梅之笔相呼应。 |
| 网页展示说明 | Weng T’ung-ho (tzu Shu-p’ing, wan-hao P’ing-sheng, tzu-shu Sung-ch’an, shu P’ing-chai Chu-shih) was a native of Ch’ang-shu, Kiangsu province. In the sixth year of the Hsien-feng reign (1856) he passed the chin-shih examinations, and by the late Ch’ing period he had become a renowned official. His early work shows the influence of the T’ang calligraphers Ou-yang Hsun and Ch’u Sui-liang, the Yuan calligrapher Chao Meng-fu, and the Ming calligrapher Tung Ch’i-ch’ang. During his middle years, Weng began to emulate the works of the T’ang calligrapher Yen Chen-ch’ing and the Sung scholars Su Shih and Mi Fu. He also studied Northern Wei steles and Han clerical script. This work was done by Weng T’ung-ho for his own personal enjoyment. It consists of an unusual arrangement of calligraphic and painting sections mounted vertically on a hanging scroll. It has been said that Weng painted landscapes, natural settings, and other various themes. His work is characterized by its spontaneous style and deeply imbued with archaic charm, of which a glimpse is provided here. The ink plum blossom in the lower section is described in a spare, calligraphic style with an unpolished, archaic quality. The upper section is a clerical script inscription that reads, “A painting of beautiful mountain flowers to amuse myself.” It is executed with round, blunt brushstrokes and bears elements of both regular and seal script, appropriately echoing the style of the plum blossom painting. |
【作品展示】
