书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：干清宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：邹一桂；题跋位置：本幅；款识：臣邹一桂恭画；书体：楷书；全文： 印记：一桂图书、派接徐黄

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：癸酉夏御题；书体：楷书；全文：（乾隆癸酉御题。诗文不录。）印记：乾隆宸翰、千潭月印

主题:

主要主题：花草菊 主要主题：果蔬桔．橙佛手柑；次要主题：果蔬木瓜 ；次要主题：果蔬香橼 

技法:

写意 没骨 双钩 

参考资料:

收藏着录： 石渠宝笈三编（干清宫），第二册，页701 收藏着录： 故宫书画录（卷八），第四册，页104 收藏着录： 故宫书画图录，第十一册，页293-294 参考书目： 1.〈清　邹一桂　金英秋实〉，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44。 内容简介（中文）： 邹一桂（1686-1772），江苏无锡人。字原褒，号小山、让卿，晚号二知老人。官至礼部侍郎，善工笔花卉，着有《小山画谱》。 本幅墨画菊花数枝，佛手柑两个，另有柑橘和瓜各一，秋季成熟的果实，比喻人的文采和德行。绘花园果实写生静物，具有素描底子，钩勒菊花结构变化多。《国朝画征续录》曾记「工花卉，分枝布叶，条畅自如，设色明净，清古冶艳，恽南田后仅见也。」此幅纯以水墨钩花点叶，略加线条钩绘筋脉，极为柔和典雅，尚可见恽氏馀韵。(20110102) 内容简介（中文）： 邹一桂（西元一六八八－一七七二年），江苏无锡人。字元褒，一字原褒，号小山，又号二知、让卿。善工笔花卉，设色明净，为清初宫廷著名花卉画家。着有《小山画谱》。本幅画菊花数枝、佛手柑两个、香橼和木瓜各一只。邹一桂画原出恽南田，本幅以水墨钩花点叶，再略加线条钩画花叶筋脉，极为柔和典雅，尚见恽氏馀韵。 内容简介（英文）： Tsou I-Kuei, a native of Kiangsu, excelled at fine-line paintings of flowers using clear colors. He became a famous court painter of flowers in the early Ch’ing dynasty and was the author of a painting manual on the subject. This painting represents a couple sprigs of chrysanthemums, two “Buddha’s hand” citrus fruit, a hsiang-yüan fruit, and a papaya. Tsou’s style originally derived from that of Yün Shou-p’ing (1633-1690). This painting was done with ink to delineate the flowers and leaves, and lines were also used to represent the veins. The result is an extremely soft and elegant style that still reveals traces of Yün Shou-p’ing’s manner. 内容简介（英文）： Zou Yigui, a native of Wuxi in Jiangsu, went by the style name Yuanbao and the sobriquets Xiaoshan and Rangqing as well as the late sobriquet Erzhi laoren. Serving up to the post of Vice Minister of Rites, he excelled at painting flowers in fine lines and authored Painting Catalogue of Xiaoshan.This painting depicts several stalks of chrysanthemum blossoms, two Buddha-hand citrus fruits, and a large orange and a melon, which all appear in autumn. The motifs here serve as a metaphor for the literary talents and virtues of a literatus. Record of Painting in the [Qing] Dynasty, Continued mentions that Zou Yigui “excelled at flowers, a few branches and leaves arranged to flow with ease in colors clear and bright. With pure archaism to offset prettiness, it makes for an effect difficult to find since Yun Nantian (Shouping).” This work uses ink to outline the leaves with a few lines for the veins, creating an exceptionally soft and classic manner that indeed suggests the refined manner of the Qing master of flower painting, Yun Shouping (1633-1690).(20110102)