【作品基本信息】
| 作者 | 徐渭 |
| 品名 | 荷花图轴 |
| 朝代 | 明朝 |
| 文件大小 | 18.04MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1281×4695 |
| 尺寸（CM） | 10.84×39.75 |
| 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 |
| 品名 | 明徐渭荷花 轴 Lotus |
| 分类 | 绘画 |
| 作者 | 徐渭 |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 141.7×37.2 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 徐渭 | 本幅 | 茨孤叶碧蓼花白。菱子稍黄莲子青。最是秋深此时节。西施照影立娉婷。渭。 | 草书 | |
| 印记： 鹏飞处人、天池山人、酬字堂、文长 |
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印记资料
| 【印记类别】 | 【印记】 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 鉴藏宝玺 | 御书房鉴藏宝 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 鉴藏宝玺 | 乾隆鉴赏 |
| 鉴藏宝玺 | 石渠宝笈 |
| 鉴藏宝玺 | 三希堂精鉴玺 |
| 鉴藏宝玺 | 宜子孙 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 主要主题 | 花草 | 莲荷 | 荷 |
| 次要主题 | 花草 | 红蓼 | 白蓼 |
| 其他主题 | 花草 | 慈姑 |
技法
| 【技法】 | 【技法细目】 |
| 写意 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈初编（御书房），下册，页1132 |
| 收藏着录 | 故宫书画录（卷五），第三册，页422-423 |
| 收藏着录 | 故宫书画图录，第八册，页143-144 |
| 内容简介（中文） | 徐渭（公元一五二一－一五九三），山阴人，字文长，号天池，又号青藤道人。性情好奇，曾签名曰田水月。工诗善古文辞。书法写得好，行草尤为人所推崇。中年学画花卉。用笔潇洒，天才横溢。人物极其生动。山水不拘规矩。自己认为书第一，诗第二，文章第三，画第四，学者们都表赞同。 这幅墨荷，笔墨很好。诗中自题：「茨菰叶碧蓼花白，菱子稍黄莲子青。最是秋深此时节，西施照影立娉婷。」书画相辉映。 |
| 内容简介（英文） | Lotus Hsu Wei (1521-1593) Ming dynasty Hsu Wei was a native of Shan-yin, Chekiang. His tzu (style name) was Wen-ch’ang, his hao (sobriquets) T’ien-chih and Ch’ing-t’eng-too-jen. His disposition was very strange, and he often signed his name T’ien-shui-yueh (Field-water-moon, a pun on the character representing his surname). He was good at both poetry and prose, and his calligraphy was very beautiful His semi-cursive script aroused particular admiration. In his middle years he began to paint flowers and plants. His brushwork is casual and refined, brimming with natural talent. His figures are extremely lively, his landscapes unrestrained by convention. He considered his calligraphy his best accomplishment, his poetry second, his essays third, and his painting fourth. Most scholars agree with his own assessment of his talents. The brushwork in this ink lotus is excellent. The inscription reads, “Water plants of various kinds, in emerald green, yellow and white, and a lotus of deep blue-green. In the maturity of the autumn season, they are as elegant and graceful as a shadow cast by the ancient beauty, Hsi-shih.” The calligraphy and painting in this work possess the same brilliance of visual effect as the images evoked by the poem. |
【作品展示】
