嘉兴博物馆藏费丹旭画派作品介绍

费丹旭的人物画几乎影响了嘉、道人物画坛。嘉兴博物馆藏有丹旭遗意的项凤书、王竹人、潘振镛、潘振节、费以耕、费以群等共20件(组)仕女画作品。     

海宁市博物馆藏晚清人物画四种

2018年3月,海宁市博物馆推出"风姿——馆藏中国画专题展仕女篇",展出书画作品56件,以费丹旭作品为代表,作品年代主要集中于晚清民国时期,这里挑选四件具有代表性的作品介绍如下。一费丹旭《惜花图轴》(图一)绢本设色。纵125.8厘米,横25厘米。右上费丹旭自撰七言诗:"落红满地奈春何,露径香痕印袜罗。正似闲愁扫难尽,晓来还较昨宵多。"落款"子苕并书旧作",下钤白文"费丹旭印",朱文"子苕"。     

费丹旭《审山纪游图卷》及别下斋交游

费丹旭在19世纪30年代末至40年代曾多次到海宁,馆寓蒋光煦别下斋。在此期间,是其绘画创作的高峰期,也和一批海宁地方文人有较多交游。《审山纪游图卷》是费丹旭为自己创作的纪游之作,题跋者主要是其在东轩吟社时期的师友及别下斋时期的好友,了解这卷文字信息和题跋者的情况,对梳理费丹旭在别下斋期间的交往和创作情况有较大意义。     

《授经图》及衍生的摹本

浙江省温州市博物馆藏有三本《授经图》,分别是徐易、陈洪绶合作《授经图))(以下简称徐、陈本),费丹旭摹徐、陈本《授经图》(以下简称费丹旭摹本),任淇重书翁方纲跋语的《刘成公授经图像》(以下简称任淇重书本)。     

费丹旭《果园感旧图》

作于1849年的《果园感旧图》是费丹旭晚年的作品,为其人物画中最出色的杰作。图卷的前半部分记录了1846年费丹旭陪同张廷济叔侄游别下斋果园,并巧遇蒋光煦第五子蒋学洌一事。后半部分则是三人的肖像,其时三人皆已逝,此图既是肖像画,也是遗像式画。     

温州博物馆藏三本《授经图》

温州博物馆藏有三本《授经图》,分别是徐易、陈洪绶合作《授经图》(以下简称徐、陈本),费丹旭摹徐、陈本《授经图》(以下简称费丹旭摹本),任淇重书翁方纲跋语的《刘文成公授经图像》(以下简称任淇重书本)。刘基(1311-1375年),字伯温,浙江文成县南田人。南田旧     

清费丹旭随月寻诗图赏析

另外,馆藏中钱福元、孙义钧、孙篆钧的书法作品上均有燮人上款。费丹旭的《随月寻诗图》装裱完成后,燮人在其书堂左上方题款:“凉意浸三更,吟袖湿花露。素影度何迟,知有客寻句。壬寅春日燮人自题。”下钤一白一朱两篆字方印“彤”、“封”。燮人题的“壬寅春日”应为道光二十二年(1842年),距费丹旭作画已过二年。随后又请好友先后赋诗题字。“诗中有月月有诗,幽人索句,步履随之,皓影发悟,清光沁脾,取之不得,遇之在兹。燮人先生属炎秋题。”下钤长方形朱文印“蔶绣”。“诗本随境生,须待静者遇。矧逢夜色佳,露脚湿寒兔。心地两空明,与古成良…     

关于鲁迅美术学院所藏费丹旭《四季仕女图》

鲁迅美术学院所藏的四条屏——《四季仕女图》是费丹旭晚年所作的四幅仕女组画。《四季仕女图》顾名思义是春夏秋冬中的仕女,这几幅图中的季节性景物特征很明显,《碧桃闻莺图》中的题诗“困人天气近清明”对季节作了暗示,《寒梅倩影》中的梅花点明了季节,《绿柳双娇图》中从人物手执羽扇纳闵可以知道此图是夏季。     

给皇叔画像

费丹旭（1801～1850）是清代著名画家。他作肖像画时,不仅能准确地抓住人物的相貌特征,还善于根据人物本身的美丑,通过巧妙的构思达到扬美抑丑的效果,深受人们赞扬。     

从费丹旭绘画看许氏家族之女性文学

浙江省博物馆收藏的清代画家费丹旭的《兰秋夫人听秋啜茗图》,画面及题跋者中所涉人物,兰秋夫人庄氏、许延、黄履、汪玢等,不但均存在亲戚关系,而且都是接受过教育的女性,从一个侧面反了清代女性文学的发展与繁荣。     

旅顺博物馆藏《翁同龢等人肖像册》及相关问题

1980年,旅顺博物馆从著名收藏家章伯钧家中征集一批珍贵书画,其中包括一本肖像册,册页为蝴蝶装,内含肖像14幅,信札4通。册页的前14开为肖像,每开的右页为肖像,左页为空白页。每幅肖像纵28.8、横17.3厘米。     

《六世班禅画像》唐卡考证

本文根据档案记载对《六世班禅画像》唐卡的制作时间、作者、内容进行了考证,阐释了其“样式”的形成及其对清宫唐卡创作的影响。此唐卡画像属清宫独创的写真画唐卡类,它融合了多种绘画技法即西藏唐卡技法、西洋写实技法和中国传统的青绿山水技法,可以说是一种新的唐卡绘画形式。     

The arts of memory revived: The re‐interpretation of old parliament house

Abstract

The authors discuss the interpretation of Old Parliament House in Canberra, which ceased being the site of the Australian Federal Parliament in 1988 and is now an historic building and open to the public. The challenge lies in a building, which is not only an historic piece of architecture, which contains the National Portrait Gallery, but also the site of all Australian federal political life for sixty years. How to tell such a plethora of stories to a variety of visitors remains a daunting proposition.     

Women's History and Biography

Books reviewed in this article: Helen M. Hopper, A New Woman of Japan: A Political Biography of Kato-Shidzue Delia Jarrett-Macauley, The Life of Una Marson 1905-65 Cynthia Nelson, Doria Shafik, Egyptian Feminist: A Woman Apart Judith Olmstead, Woman Between Two Worlds: Portrait of an Ethiopian RuralLeader Lizabeth Paravisini-Gebert, Phyllis Shand Allfrey: A Caribbean Life     

Portrait of America: A Cultural History of the Federal Writers' Project

With the seventy-fifth anniversary of the New Deal in 2008,Portrait of America: A Cultural History of the Federal Writers’Project takes on a meaningful and significant role in the recoveryand interpretation of the Federal Writers’ Project. Itprovides an opportunity for us to think about the historiographyof oral history. Hirsch's essential question deserves an answer:"Who do oral historians want for ancestors? And why?" (142). Seventy-five years ago, in 1933, the newly elected presidentFranklin D. Roosevelt and his administration addressed the nationalcrisis of the Great Depression by creating the innovative "alphabetagencies" and programs, a series of     

INTERVIEW WITH ROGER ADELSON

Born in 1942 and reared in Kansas, Adelson received his B.A. degree from George Washington University, Washington, D.C.; his B.Litt. degree from Oxford University, Oxford, England; and his M.A. and Ph.D. degrees from Washington University, St. his, Missouri, where he was a Danforth Fellow. He held a post-doctoral research fellowship at St. Antony's College, Oxford, and taught briefly at Harvard before joining the history faculty at Arizona State University in 1974. Adelson's publications include Mark Sykes: Portrait of an Amateur and London and the Invention of the Middle East: Money, Power, and War, 1902–1922. While editing The Historian from 1990 to 1995, Adelson has interviewed numerous historians; many will be republished this fall in Speaking of History. As a consulting editor for The Historian, Adelson will continue doing interviews. This one was conducted by Peter Iverson, associate editor, and edited by Joy Margheim, editorial assistant, in December, 1995.     

Book Reviews

The World of the Phoenicians. The awakening of the Greek Historical Spirit. Imprisonment in Medieval England. Elizabeth and the English Reformation. A History of the Franciscan Order: From its Origins to the Year 1517. Venice and the Defense of Republican Liberty. Renaissance Values in the Age of the Counter Reformation. Florence in Transition. Volume II, Studies in the Rise of the Territorial State. The New Cambridge Modern History. Volume III, The Counter-Reformation and Price Revolution 1559–1610. The Aberdeen Coalition, 1852-1855: A Study in Mid-Nineteenth-Century Party Politics. Britain and the Congo Question, 1885-1913. The New Cambridge Modern History. Volume XII, The Shifting Balance of World Forces, 1898-1945. The German Conception of History. The National Tradition of Historical Thought from Herder to the Present. The Nazi Persecution of the Churches, 1931-45. A Cultural History of Tibet. Panditji, A Portrait of Jawaharlal Nehru. The Letters and Papers of Chaim Weizmann. English Edition. Series A, Letters. Volume I, Summer 1885 - 29 October 1902.     

乐事还同万众心——《货郎图》解读

研究者一般认为,南宋李嵩的《货郎图》是当时城乡之中四处活动的货郎小贩的写照,反映出宋代社会物质与经济生活的繁荣。但是如果与存世其他绘画作品中的“货郎”形象对比来看,《货郎图》中的“货郎”与现实生活中货郎的形象有不小的距离。本文试图通过另一种解读,将明代宫廷《货郎图》与南宋《货郎图》作为一个连续性的画题,论证《货郎图》题材实际上是宫廷元宵时节的节令绘画,以政府组织的元宵大型庆典中“货郎”杂扮表演为蓝本,是特定时间与空间的绘画,而非现实风俗的简单再现。本文最后对一些具体图像加以解读,尝试从图画与当时具体社会情境之间的关系来重新认识李嵩的杰作。     

Pedestrian perils on the road to Irish identity in Joyce and Bowen

This article identifies and explores some major facets of an important theme in the works of James Joyce and Elizabeth Bowen that adds to our understanding of the complex ways in which both writers construed Irishness. Striving to acknowledge what they saw as the value of walking without embracing its English nationalist or Romantic associations, these modernists depict walking in late nineteenth- and early twentieth-century Ireland as a beneficial means of expressing and experimenting with different permutations of Irish identity, largely because of the opportunity it presented to negotiate a variety of dangers. By emphasising walking’s taxing and often perilous material realities, Joyce in A Portrait of the Artist as a Young Man and Ulysses and Bowen in Seven Winters and The Last September recast the idealised English Romantic view of walking as a darker and more menacing activity that nevertheless offers a useful strategy for articulating fluctuating conceptions of Irishness during the tumultuous period lasting roughly from the death of Parnell through to the Irish War of Independence.