桃花牡丹 - 美国大都会艺术博物馆展品查阅

品名（中）	桃花牡丹
品名（英）	Peach Blossoms and Peony
入馆年号	1986年，1986.267.28
策展部门	亚洲艺术（Asian Art）
创作者	Zhao Zhiqian【1829 至 1884】【中国人】
创作年份	公元 1850 - 公元 1870
创作地区
分类	绘画（Paintings）
尺寸	7 1/2 x 21 1/2 英寸 (19.1 x 54.6 厘米)
介绍（中）	赵是当时杰出的文人画家，他将书法家和篆刻家的技能应用于绘画艺术。他将构图和图形效果的对比、正的形式和负的空间、干的和湿的墨水、圆的和棱角的动作、重的和轻的笔触融合在一起，这源于他的书法训练；因此，赵的绘画风格，通常被称为"铭文"，为中国传统艺术家开辟了一个新的方向<图与地的关系是印章雕刻的核心，赵大胆地将纯色桃花和单色牡丹并列在一起，这两种传统的花卉绘画模式是："无骨"无墨彩绘法和单色轮廓法。赵螺旋形花簇的风车效应被他紧凑的铭文所抑制，这抵消了牡丹朝左的巨大推力。赵表示，他沿袭王武（1632-1690）的笔法，但他将华丽的意象和书法技巧结合在一起，这是十九世纪的精髓。
介绍（英）	The preeminent literati artist of his day, Zhao Zhiqian applied his skills as a calligrapher and seal carver to the art of painting. His blending of contrasting compositional and graphic effects—positive forms and negative spaces, dry and wet ink, round and angular movements, heavy and light brushwork—derive from his calligraphic training; for this reason, Zhao's painting style, often referred to as "epigraphic," inaugurated a new direction for traditional Chinese artists. The relationship of figure to ground, which is at the heart of seal carving, is seen here in Zhao's bold juxtaposition of the solidly colored peach blossoms and the monochrome peony, which are executed in the two traditional modes of flower painting: the "boneless" method of drawing in color without ink contours and the monochrome outline method. The pinwheel effect of Zhao's swirling cluster of blossoms is held in check by his compact inscription, which counterbalances the expansive leftward thrust of the peony. Zhao states that he is following the brush style of Wang Wu (1632–1690), but his mix of lush imagery and calligraphic techniques is quintessentially nineteenth century.