【作品基本信息】
| 作者 | 王闿运 |
| 品名 | 齐白石画文勤公像王闿运赞图轴 |
| 朝代 | 清代 |
| 文件大小 | 18.0MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 2127×2821 |
| 尺寸（CM） | 18.0×23.88 |
| 创作时间 | 清德宗宣统二年（1910） |
| 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 | 民国齐白石画文勤公像王闿运赞 轴 Portrait of Tan Zhonglin with an Encomium by Wang Kaiyun |
| 分类 | 绘画 |
| 作者 | 齐白石;Qi Baishi |
| 创作时间 | 清德宗宣统二年（1910） |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 66.7×36.8 |
| 全幅 | 239×55.2 |
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 | 齐白石 | 本幅 | 隶书 | 庚戌（公元一九一０年）秋日湘潭齐璜敬摹。 | |
| 题跋 | 郑沅 | 本幅 | 篆书 | 谭文勤公遗像（篆书）。同郡后学郑沅恭题（行书）。 | |
| 印记： 郑沅之印 |
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| 题跋 | 王闿运 | 诗塘 | 隶书 | 谭文勤公像赞并序。文勤公始通籍。余在公交车。曹镜初为余言文卿謦欬。惊人。后必大贵。又闻初生时有推生命者。书筴云。官至一品。寿七十四。其后寿过所推。知者以为能造命。余辱知赏六十余年。既表其政学于碑。其轶事可传者。后人类能知之。其诸子以画像视余。乃督广海时照像所橅。遂为赞曰。名臣之容。恒恤兮有忧。其神当春。其气如秋。公之暮年。为国重臣。老成凋谢。其志弗申。归卧于林。四海滔滔。孰是冥观。而可捎摇。河目复明。夫岂偶然。唯有余庆。以全其天。式此光烈。昭于啻龄。宣统三年（公元一九一一年）正月。王闿运年八十百拜题。 | |
| 印记： 王闿运印 |
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| 题签 | 谭泽闿 | 先文勤公画象。庚戌（公元一九一０年）齐白石绘。王湘绮赞。己卯（公元一九一五年）四月重装。泽闿敬记。 | |||
印记资料
| 【印记类别】 | 【印记】 |
| 收传印记 | 谭氏子子孙孙永宝 |
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101、211、387 |
| 参考书目 | 1.刘芳如，〈民国齐白石画文勒公像〉，收入刘芳如主编，《十九世纪末期中西画风的感通之二－－国立故宫博物院所藏同时期名家作品展》（台北：国立故宫博物院，1993年初版），页130。 |
| 内容简介（中文） | 齐璜（公元一八六四－一九五七年），湖南湘潭人。小名阿芝，字萍生，号白石，又号齐萍、借山翁等。习诗文书画、篆刻。画山水构图奇肆，富创造精神；画花鸟以写意者最精，尤工虾蟹等水族，淋漓活泼，高出古人。 年四十八岁，齐白石依谭钟麟两广总督任内之照片，作此半身肖像画。通幅墨笔为主，仅须发处加染白粉。脸部有明显的阴影处理，突出了人物的立体感，形貌逼真，神韵俱全。此类画题在齐氏作品中，实属难得者。 本幅为谭伯羽、谭季甫先生捐赠。 |
| 内容简介（英文） | Ch’I Pai-shih was a native of Hsiang-t’an, Hunan, and was known by many sobriquets throughout his life. At twenty-six he studied painting and calligraphy, as well as poetry, prose, and seal carving. In his landscapes, his creative originality is fully shown in free and unusual compositions. He excelled in hsieh-yi (painting ideas) bird-and-flower painting,and his depictions of aquatic tribes such as lobsters and crabs comes to life and far exceed the old masters. Painted when he was forty-eight, Ch’I Pai-shih relied on a picture taken of the Governor General of Kwangtung and Kwanghsi, T’an Chung-lin, to paint this portrait. Ink strokes are the most outstanding feature in this work; only a bit of white powder has been added to the beard. The facial area shows clear signs of modelling, producing a three-dimensional effect. The appearance of the figure is very realistic and complete. This subject-matter is rarely seen among Chi’s oeuvre. This painting was donated to the Museum by T’an Po-yu and T’an Chi-fu. |
| 网页展示说明 | 齐白石（公元１８６４一１９５７年），湖南湘潭人。名璜，字萍生，又号寄萍、借山翁等，名号甚多。年少学木工，善雕花，二十七岁学书画，六十岁以后受陈师曾影响，专精写意花鸟。 齐白石以水墨，采画肖像画的型式作此画，笔墨细致传神。画中的人物为捐赠者谭氏兄弟的祖父谭钟麟。谭钟麟历任有清一代陕甘、闽浙、两广总督，从幅上王闿运的跋中得知，此乃依其在两广任内的照像而画。并知王闿运与谭钟麟为六十余年之故交，谭氏子辈以此画像示之，因为书此赞，时年已八十，诚为一段佳话。 |
| 网页展示说明 | Ch’i Pai-shih (ming Huang, tzu P’ing-sheng, hao Chi-p’ing and Chieh-shan weng) was a native of Hsiang-t’an, Hunan province. As a youth he studied woodworking and excelled in the art of decorative carving. At the age of 27, he began studying painting and calligraphy, and at the age of 59, under the influence of Chen Shih-tseng, he devoted his attention to the freehand painting of bird-and-flower scenes. Ch’i Pai-shih painted this ink portrait with meticulous, lifelike detail. The figure depicted is Tann Chung-lin, grandfather of the Tann brothers, who donated the present collection. Tann Chung-lin served as the governor-general of the Shensi-Kansu, Fukien-Chekiang, and Kwangtung-Kwangsi provincial jurisdictions. From the postscript of Wang K’ai-yun on the painting, we know that the portrait was painted from a photograph of Tann during his tenure as governor-general of Kwangtung-Kwangsi. It also shows that Wang and Tann Chung-lin were acquaintances of more than 60 years. The Tann brothers presented this portrait to Wang, who at the age of 79 wrote this inscription of praise to record this interesting story between them. |
【作品展示】
