【作品基本信息】
| 作者 | 高凤翰 |
| 图名 | 大富贵图轴 |
| 朝代 | 清代 |
| 图片大小 | 18.01MB |
| 分辨率 | 300×300 |
| 像素大小 | 1841×3261 |
| 图片尺寸 | 15.58×27.6 |
| 创作时间 | 清高宗乾隆五年（1738） |
| 数量 | 1 |
| 馆藏信息 | 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 | 清高凤翰大富贵图 轴 Peonies |
| 分类 | 绘画 |
| 作者 | 高凤翰 |
| 创作时间 | 清高宗乾隆五年（1738） |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 133.6×74 |
| 全幅 | 232×78.4 |
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 | 高凤翰 | 本幅 | 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（公元一七四０年）庚申麦秋写于竹西亭中。五十八岁老人翰左手并题。 | 草书 | |
| 印记： 凤、翰、左手 |
|||||
印记资料
| 【印记类别】 | 【印记】 |
| 收传印记 | 白云堂 |
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 | 牡丹 |
技法
| 【技法】 | 【技法细目】 |
| 工笔 |
参考数据
| 【类别】 | 【参考数据】 |
| 内容简介（中文） | 高凤翰（公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。晚年病痹，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（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 Chun-pi. |
| 内容简介（中文） | 高凤翰（公元一六八三—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。晚年病痹，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. |
| 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。晚年病痹，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（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 wi |
【作品展示】
清高凤翰大富贵图轴
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