【国画基本信息】
| 作者 | 吴昌硕 |
| 品名 | 山水图轴-2 |
| 朝代 | 清代 |
| 文件大小 | 18.0MB |
| 分辨率 | 300x300 |
| 像素大小 | 1614x3719 |
| 尺寸（CM） | 13.66x31.48 |
| 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 | 清吴昌硕山水 轴 Landscape |
| 分类 | 绘画 |
| 作者 | 吴昌硕 |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 125.3x53.1 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 绢 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 吴昌硕 | 本幅 | 茅屋四隅幽。新篁看欲活。荒荒江月明。秋烟生一抹。大聋。 | 行书 | |
| 印记： 缶、老缶无恙、石人子室 | |||||
| 【印记类别】 | 【印记】 |
| 收传印记 | 慈水王氏不争斋珍藏书画印 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 次要主题 | 树木 | 竹 | |
| 次要主题 | 建筑 | 茅草屋 | |
| 其他主题 | 树木 | ||
| 其他主题 | 人物 | 高士（士人、隐士） |
技法
| 【技法】 | 【技法细目】 |
| 写意 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 王新衡先生遗赠书画展目录，页15、46 |
| 内容简介（中文） | 吴昌硕（公元一八四四－一九二七年），浙江安吉人。原名俊，字昌硕，又字仓石，别号缶庐、苦铁、又署破荷、老缶、大聋，七十岁后以字行。书法以石鼓文见长，用笔结体，一变前人成法；篆刻以浙、皖诸家入手，上溯秦印玺，钝刀硬入，朴茂苍劲；又以金石书法入画，气魄雄浑，色彩浓郁，为海上画派巨擘。 山水一类，吴氏较少作，但画来作画如写书法，一股雄壮的笔力，贯穿画面，而气氛正如题款最后一句「秋烟生一抹」。本幅为王新衡先生捐赠。 |
| 内容简介（英文） | Wu Ch’ang-suo (original name Chun, style names Ts’ang-shih; sobriquets Fou-lu, K’u-t’ieh, P’0-he, Lao-fou, and Ta-lung) was a native of An-chi, Chekiang. After the age of 69, he commonly went by his style name Ch’ang-suo. In calligraphy, Wu specialized in stone drum script. He transformed the brushwork and styles of the ancients to form his own manner. He studied seal carving from various masters in Chekiang and Anhwei and also learned from the seals of the Ch’in (255-207 BC) and Han (206 BC-AD 220) period. The strength to carve seals was thus transferred to his brushwork to give his painting and calligraphy a hoary strength. Furthermore, Wu Ch’ang-suo also applied the calligraphic style from stone and bronze inscriptions to his paintings, creating a bold and rich style with deep, strong colors. He was one of the most noted artists of the Shanghai School. Compared to other subjects, Wu Ch’ang-suo did relatively few landscapes. However, when he did so, it was as if he was doing calligraphy, applying force as the brush stretched across the surface of the painting. The atmosphere is aptly described by the inscription written on the painting by Wu, which reads “A stretch of autumn mist springs to life.” This work was donated to the Museum by Mr. Wang Hsin-heng. |
