【作品基本信息】
| 作者 | 金廷标 |
| 品名 | 画墨牡丹图轴 |
| 朝代 | 清代 |
| 文件大小 | 18.0MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1424×4214 |
| 尺寸（CM） | 12.05×35.67 |
| 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 |
清金廷标画墨牡丹 轴 Peonies |
| 分类 | 绘画 |
| 作者 | 金廷标 |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 150×52 |
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 | 金廷标 | 本幅 | 臣金廷标恭绘 | 楷书 | |
|
印记： 廷标 |
|||||
| 题跋 | 爱新觉罗弘历 | 戊戌（公元一七七八年）初夏御题。 | 行书 | 廷标虽作古。迹伙禁中留。粘壁频收拾。弃珍殊辈俦。花真春色夺。叶欲露华流。刘训杀风景。却称水牯牛。戊戌（公元一七七八年）初夏御题。 | |
|
印记： 干、隆 |
|||||
印记资料
| 【印记类别】 | 【印记】 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 鉴藏宝玺 | 宝笈三编 |
| 鉴藏宝玺 | 乾隆鉴赏 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 嘉庆鉴赏 |
| 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】 |
| 其他主题 | 山水 | 奇石 | |
| 主要主题 | 花草 | 牡丹 | |
| 其他主题 | 花草 | 草 |
技法
| 【技法】 | 【技法细目】 |
| 写意 | |
| 皴法 | 斧劈皴 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈三编（延春阁），第五册，页2444 |
| 收藏着录 | 故宫书画录（卷八），第四册，页124 |
| 收藏着录 | 故宫书画图录，第十三册，页281-282 |
| 参考书目 |
1.〈清金廷标画墨牡丹〉，收入国立故宫博物院编辑委员会编，《牡丹名画特展图录》（台北：国立故宫博物院，1987年四月初版），页48。 2.〈清金廷标画墨牡丹 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80-81。 |
| 内容简介（中文） | 金廷标字士揆，乌程（浙江吴兴）人，善人物，兼工花卉、山水。乾隆南巡，进白描罗汉册，称旨，召入内廷供奉。生卒年未详，作品见于乾隆二十五年至三十二年间（一七六○–一七六七），乾隆辛丑（一七八一）清高宗题金廷标罱泥图云：「廷标内廷昔供奉……。」依此题，金氏当卒于辛丑年以前。 墨绘牡丹五朵，三朵置于画幅上端，一正一反一隐于叶隙间，下方两朵一含苞一盛开，花枝偃仰，甚为生动。 |
| 内容简介（英文） | Chin T’ing-piao was from Wu-ch’eng (Wu-hsing, Chekiang). He excelled at renditions of human figures and was also noted for his landscapes and flower paintings. He once gave one of his outline drawings of a lohan (a Buddhist ascetic) to the Ch’ien-lung Emperor when the latter was on an imperial tour in the south, and consequetly Chin was called to serve at court. Chin T’ing-piao has depicted five peonies: above, one is portrayed from the front, another from the back, while yet another is hidden among the leaves. Below are still two more; one facing up and the other down, one open and the other closed. All of them are depicted with full liveliness. |
| 内容简介（中文） |
金廷标（活动于1760-1778），字士揆，浙江乌程（今湖州）人，兼工人物、山水、花卉。乾隆南巡，进呈白描罗汉称旨，召入内廷供奉。根据画上乾隆戊戌（1778）御题诗：「廷标虽作古。迹伙禁中留。」故知金氏当卒于此年以前。 全幅式构图的没骨水墨写生，绘牡丹三朵置于画幅前方，一朵隐于叶隙间，花枝正侧偃仰穿插极为生动。花瓣叶脉间留白，绘叶一叶三面，四方兼顾，转折变化多。湖石皴法采小斧劈，以侧锋横笔擦染，再用淡墨渲染，墨色富有层次。(20110102) |
| 内容简介（英文） |
Jin Tingbiao (style name Shikui) was a native of Wucheng (modern Huzhou) in Zhejiang and skilled at painting figures, landscapes, and flowers. During the Southern Inspection Tour of the Qianlong Emperor (r. 1736-1795), he presented a painting of lohans for imperial review and was summoned to the court as an artist. According to the imperial inscription of poetry on this painting dated to 1778, “Though Tingbiao has passed, his many traces remain in the Forbidden [City],” it is known that he died sometime before that year. The entire composition of this painting is done in the “sketching from life” manner using “boneless” washes entirely in ink. The work depicts three blossoms of peonies in front, with one hidden among the leaves; the twisting and turning of the blossoms and stems intersect in a very lively manner. The blossom petals and leaf veins have been left blank, depicting the sides of the leaves and giving full consideration to all their angles with many different gestures. Small “axe-cut” texture strokes were used for the lake rock, the washes applied with applications of a horizontal brush tip followed by light washes of ink to impart rich layers to the ink tones.(20110102) |
【作品展示】
清金廷标画墨牡丹轴
