【作品基本信息】
| 作者 | 沈全 |
| 品名 | 墨牡丹图轴 |
| 朝代 | 清代 |
| 文件大小 | 18.01MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1977×3037 |
| 尺寸（CM） | 16.73×25.71 |
| 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 |
清沈全墨牡丹 轴 Peonies |
| 分类 | 绘画 |
| 作者 | 沈全 |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 154.7×83.5 |
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 | 沈全 | 本幅 | 臣沈全恭画 | 楷书 | |
|
印记： 臣沈全、恭画 |
|||||
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】 |
| 主要主题 | 花草 | 牡丹 | |
| 次要主题 | 花草 | 海棠（木） | |
| 次要主题 | 花草 | 玉兰 | |
| 主要主题 | 器用 | 花器 | 花盆、花架 |
| 其他主题 | 花草 | 草 |
技法
| 【技法】 | 【技法细目】 |
| 工笔 | |
| 界画 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 故宫书画录（卷八），第四册，页129 |
| 收藏着录 | 故宫书画图录，第十四册，页177-178 |
| 内容简介（中文） | 沈全，生卒年不详。清末的《韬养斋笔记》载有一「沈全」，为江苏人，字璧如，供奉内廷，善仕女、花鸟，不知是否为其人。图中以牡丹为主花，搭配木海棠与木兰。由于木兰也名玉兰，而牡丹搭配玉兰、海棠，则有「玉堂富贵」之吉祥寓意。全图以水墨敷染出如西洋素描般光影立体之感。 |
| 内容简介（英文） | Shen Ch’uan’s birth and death dates are unknown, but a late Ch’ing record in Notes from the T’ao-yang Studio mentions a “Shen Ch’uan” from Kiangsu who went by the style name Pi-ju. He served the court and excelled at painting ladies as well as birds and flowers, but it is unclear if he is the same artist who did this work, which mainly shows peonies complemented by begonia and magnolia blossoms. The peony as “King of Flowers” and its combination with two other “noble” flowers gives this work a play on words serving as a metaphor for the auspicious expression, “Wealth and Rank of the Halls of Nobility.” This work was done with washes of monochrome ink to suggest the three-dimensional effect of Western drawing. |
| 内容简介（中文） |
沈全，生卒年不详。清末《韬养斋笔记》载有一「沈全」，为江苏人，字璧如，供奉内廷，善仕女、花鸟，不知是否为其人。 盆内植栽牡丹，花瓣繁复，硕大华丽；另以玉兰、海棠搭配，三种花材取其谐音，有「玉堂富贵」之吉祥寓意。四足模制印花盆，表面饰有双龙捧寿字，纯以墨色敷染花器，然具西洋素描光影立体感。画中黑漆描金方杌为典型清式宫廷家具，高束腰，开有鱼门洞透光，直枨腿带托泥，空缺处冰裂纹制作用心。(20110102) |
| 内容简介（英文） |
Although the dates for Shen Quan are unknown, Notes from the Taoyang Studio of the late Qing dynasty mentions a “Shen Quan” as a native of Jiangsu who went by the style name of Biru. He served at the court and excelled at painting ladies and bird-and-flower subjects. It is uncertain, however, if he is the same artist as the one who did this work. In the planter depicted in this painting is a luxuriant peony bush, the complex petals forming large, opulent blossoms. It is also accompanied by magnolia and crab apple, the flowers of these three plants coexisting harmoniously to suggest the auspicious metaphor of “wealth and position in halls of jade.” The four-footed planter with impressed floral patterning is also decorated with paired dragon motifs holding the character for longevity (shou). Though the vessel is rendered completely in various tones of ink wash, it has the effect of shading and volume suggestive of Western-style sketching. The square black-lacquered stool with gold trim is a typical form of Qing dynasty court furniture. It has a high waist with decorative openings and long legs with runners, the space between which is rendered as an ice-crackle pattern.(20110102) |
| 参考书目 | 1.〈清沈全墨牡丹 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212-213。 |
| 参考书目 | 林莉娜，〈清沈全墨牡丹 轴〉，收入林莉娜主编《百卉清供-瓶花与盆景画特展》（台北：国立故宫博物院，2018.10），页206-211。 |
【作品展示】
清沈全墨牡丹轴
