【作品基本信息】
| 作者 | 钱维城 |
| 品名 | 画洋菊图轴 |
| 朝代 | 清代 |
| 文件大小 | 18.04MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1734×3469 |
| 尺寸（CM） | 14.68×29.37 |
| 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 |
清钱维城画洋菊 轴 Chrysanthemums |
| 分类 | 绘画 |
| 作者 | 钱维城 |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 112.7×57.5 |
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 | 钱维城 | 本幅 | 臣钱维城恭画 | 楷书 | |
|
印记： 臣钱维城、染翰 |
|||||
印记资料
| 【印记类别】 | 【印记】 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 鉴藏宝玺 | 宣统鉴赏 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 无逸斋精鉴玺 |
| 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 |
| 鉴藏宝玺 | 石渠定鉴 |
| 鉴藏宝玺 | 宝笈重编 |
| 鉴藏宝玺 | 干清宫鉴藏宝 |
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 | 菊 | |
| 其他主题 | 花草 |
技法
| 【技法】 | 【技法细目】 |
| 工笔 | |
| 写意 | |
| 没骨 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈续编（干清宫），第二册，页747 |
| 收藏着录 | 故宫书画录（卷八），第四册，页113 |
| 收藏着录 | 故宫书画图录，第十二册，页205-206 |
| 内容简介（中文） | 钱维城（公元一七二○－一七七二年），江苏武进人。字宗盘，号茶山，晚号稼轩。乾隆乙丑（一七四五年）状元，仕至工部侍郎。初从陈书学花卉，后改画山水。折枝菊花一丛，用笔极工稳而有力，设色秾艳，重用铅粉。虽出陈书之门，不无邹一桂影响。 |
| 内容简介（英文） |
Ch’ien Wei-ch’eng was a native of Wu-chin in Kiangsu Province. His style name was Tsung-p’an, his sobriquets were Ch’a-shan and Chia-hsüan. He received the Chuang-yüan degree in 1745 and later entered the court as an official. He first studied flower painting with Ch’en Shu (1660-1736), but later turned to landscapes. A single bending branch carries a cluster of chrysanthemums. The brushwork is precise but forceful. The colors are thick and attractive and especially heavy with lead white. Although Ch’ien Wei-ch’eng’s style evolved from Ch’en Shu, it reflects as well the influence of Tsou I-kuei (1686-1772). |
| 内容简介（中文） |
钱维城（1720-1772），江苏武进人。字宗盘，号茶山，晚号稼轩。乾隆乙丑（1745）状元，仕至工部侍郎。初从女画家陈书（1660-1736）学花卉，后改作山水。 本幅画菊花五种，奼紫嫣红，花形各异。用笔工致，稳健有力，设色秾艳。花心点蕊如同画龙点睛，尤显精神。同时以色块线条营造花瓣舒卷与叶片老嫩向背的视觉效果。虽师陈书，却化古朴醇老为细劲灵活与鲜妍明媚，似受词臣画家邹一桂（1686-1772）影响。(20110102) |
| 内容简介（英文） |
Qian Weicheng, a native of Wujin in Jiangsu, went by the style name Zongpan and the sobriquets Chashan and Jiaxuan. He came in first place in the imperial examinations in 1745 and went on to serve as Vice Minister of Works. At first he studied flower painting from the woman artist Chen Shu (1660-1736), but later he turned to landscapes. This work depicts five varieties of chrysanthemums beautiful and luxuriant in all manners of form. The brushwork is fine and even, both steady and powerful, while the colors are luxuriant and beautiful. The centers of the blossoms have just the right touch to give life and notable spirit to the painting. At the same time, the patches of color and lines have the visual effect of creating the appearance of petals extending forth as well as old and tender leaves curving back. Although having studied Chen Shu’s style, the simple archaism and maturity have been transformed by Qian Weicheng into fine strength and nimble spirit along with fresh and beautiful colors, similar to the influence of the poet-official and court artist Zou Yigui (1686-1772).(20110102) |
| 参考书目 | 1.〈清钱维城画洋菊 轴〉，收入谭怡令、刘芳如、林莉娜主编《满庭芳-历代花卉名品特展》（台北：国立故宫博物院，2010年十二月初版一刷），页176-177。 |
【作品展示】
清钱维城画洋菊轴
