【作品基本信息】
| 作者 | 华喦（华岩)(华嵒) |
| 图名 | 花鸟图轴 |
| 朝代 | 清代 |
| 图片大小 | 18.0MB |
| 分辨率 | 300×300 |
| 像素大小 | 2131×2817 |
| 图片尺寸 | 18.04×23.85 |
| 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 | 清华嵒花鸟 轴 Birds and Flowers |
| 分类 | 绘画 |
| 作者 | 华嵒;Hua Yan |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 113.5×57.5 |
| 全幅 | 212×72.2 |
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 | 华岩 | 本幅 | 新罗山人 | 行书 | |
| 印记： 布衣生 |
|||||
印记资料
| 【印记类别】 | 【印记】 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 次要主题 | 翎毛 | ||
| 其他主题 | 树木 | ||
| 其他主题 | 树木 | 竹 |
技法
| 【技法】 | 【技法细目】 |
| 写意 | |
| 双钩 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 罗家伦夫人张维桢女史捐赠书画目录，页124、174 |
| 内容简介（中文） | 华岩（公元一六八二－一七五六年），福建上杭人。字秋岳，号新罗山人。初寓杭州，后客扬州鬻画。人物、山水、花鸟、草虫无一不精。虽与八怪同时，然笔墨却了无霸悍气习，在扬州画家中独树一格。 本幅为张维桢女士捐赠，画梧桐、翠竹并立，枝上复有双禽栖息鸣叫。通幅设色浅淡，干湿并剂，极富松秀明丽的空灵之美。毋怪有人赞誉其画能与清初之花卉名家恽寿平（一六三三－一六九○）并驾齐驱，对清中叶以后的花卉画影响亦十分深远。 |
| 内容简介（英文） | Hua Yen(1682-1756), a native of Snang-hang in Fukien province, went by the style name Ch’iu-yüeh and the sobriquet Hsin0lo shan-len. He early resided in Hangchow but later took up residence in Yangchow to sell his paintings. He excelled at a variety of subjects, including figures, landscapes, birds-and-flowers, and grasses-and-insects. Although contemporary with the “Eight Eccentrics of Yangchow”, his brushwork lacks the bold bravura usually associated with them, making him a Yangchow painter in his own manner. This painting, donated to the National Palace Museum by Ms. Chang Wei-chen, includes representations of pawlonia and emerald bamboo. Repeated pairs of birds are in the branches roosting and calling. Done in light colors that are both wet and dry, the work has a beautifully light and bright spirit to it. Wonder some have praised Hua Yen’s ability in painting as comparable to that of the early Ch’ing master of flowers. Yün Shou-p’ing (1633-1690), as Hua’s style came to exert a great influcnce on flower painting from the mid-Ch’ing on. |
| 内容简介（中文） | 华嵒（公元一六八二－一七五六年），福建上杭人。字秋岳，号新罗山人。初寓杭州，后客扬州鬻画。人物、山水、花鸟、草虫无一不精。虽与八怪同时，然笔墨却了无霸悍气习，在扬州画家中独树一格。 本幅为张维桢女士捐赠，画梧桐、翠竹并立，枝上复有双禽栖息鸣叫。通幅设色浅淡，干湿并剂，极富松秀明丽的空灵之美，无怪乎有人赞誉其画能与清初之花卉名家恽寿平并驾齐驱。 |
| 内容简介（英文） | Hua Yan(1682-1756), a native of Shanghang in Fujian, went by the style name Qiuyue and the sobriquet Xinluo shanren. He first resided in Hangzhou but later moved to Yangzhou to sell his paintings. He excelled at a variety of subjects, including figures, landscapes, birds and flowers, and insects and grasses. Although contemporary with the Eight Eccentrics, his brushwork lacks the bold bravura usually associated with them, making him a Yangzhou painter in his own manner. This painting, donated to the National Palace Museum by Ms. Zhang Weizhen, depicts paulonia and emerald bamboo together. Repeated pairs of birds are in the branches roosting or calling. Done in light colors both wet and dry, the work has a beautifully light and sprightly spirit. No wonder people praised Hua Yan’s ability in painting as comparable to that of the early Qing master of flowers, Yun Shouping. |
| 内容简介（中文） | 华岩（公元一六八二－一七五六年），字秋岳，号新罗山人。福建上杭人，初寓杭州，后客扬州鬻画，人物山水、花鸟草虫无一不精。虽与金农、黄慎等号称扬州八怪，但笔墨清新，在扬州画派中独树一格。 本幅水墨渲染梧桐衬以双钩翠竹，枝上双禽栖息鸣叫。通幅设色浅淡，极富松秀明丽的空灵之美，得鸟禽神韵，既描写精微又不失简逸生动，兼工带写，具有清新俊秀的个人风貌。 本幅由罗家伦夫人张维桢女士捐赠。 (20120714) |
| 内容简介（英文） |
【作品展示】
清华嵒花鸟轴
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