典藏單位:國立中正紀念堂管理處

館藏編號:OF08301000

宋美齡

尺寸:71×39(畫心)

葵、竹是中國文人庭園中常見的花木，在國畫中為常見的花竹母題。唐、宋時期的工筆寫生，和元、明之際的沒骨寫意都有名作。明代文人畫家取材芭蕉梧桐、荷花水仙、梅蘭竹石，常運用水墨寫的意技法結合詩書，將葵石畫的神韻和情致表現得淋漓盡致。
本圖為掛軸形式，內容為蜀葵花、竹。蜀葵屬錦葵科多年生草本植物，複花萼、互生葉序、網狀葉脈。在自然界裡蜀葵花瓣軟嫩嬌羞，葉形爽朗明快；竹清瘦，搖曳生姿。葵竹相倚，形成風中掩映之景致。畫中蜀葵直挺而出，數朵葵花依序由下而上，從綻放到含苞，花出葉間，簡潔清爽。左有一桿嫩竹陪襯，枝葉參差，花竹相互掩映對話。此軸構圖不為奇巧，形態爽朗大方。明代徐沁《明畫錄》評陳淳〈葵石圖〉云：「其寫生，一花半葉淡墨欹毫，疏斜歷亂之致，咄咄逼真，淺色淡墨之痕俱化矣。」描寫畫面筆痕墨韻俱化之美感可為參照。
　　作者蔣宋美齡(1897-2003)中年習畫，天資聰穎，頗能自參天趣，運用水墨寫意技法，用筆顯行書功力，運筆跌宕頓挫，自然牽帶，顯得十分灑脫。葵花的枝葉，時見臥筆、折鋒、和飛白，竹枝葉用中鋒剔挑、富有書寫筆韻；葵葉則以水墨揮灑，濃淡輕重，十分雅趣。此畫墨法精熟，形象冼練，創造出了水墨寫意花卉畫文人画意趣。

Hollyhock and bamboos, common flowers and trees in Chinese literati's gardens, are archetypal subjects in Chinese paintings. Masterpieces from Tang and Song dynasties' brush paintings or Yuan and Ming dynasties' boneless artwork both depicted sunflowers and bamboos. Furthermore, Ming dynasties' literati painters often took inspiration from bananas and phoenix trees, lotus and daffodils, plums, orchids, bamboo, and rocks. Combining ink painting with poetry and calligraphy, the artists epitomized the spirits and atmosphere evident in Hollyhock paintings.
In the form of a hanging scroll, the painting depicts hollyhocks and bamboos. A Hollyhock is an ornamental dicot flowering plant, with compound calyx, alternate leaf inflorescence, and reticulate leaf veins, in the family Malvaceae. In nature, the petals of hollyhocks are soft and delicate, with bright and living leaves. Similarly, the bamboo is slender and swinging. The flower and bamboo lean against each other, forming an elegant scenery driven by the wind. In the painting, the flower stands upright. There seems to be a particular order in the flowers; the flowers from the bottom are in full bloom, while the ones closer to the top of the painting are still budding. Intertwining between the leaves, the flowers form a simple and refreshing look. On the left of the painting, there is a young bamboo. The varying branches, leaves, and flowers are as if conversing in a dialogue. Despite the typical painting composition, its form is bright, generous, and classical.
Hsu Chin commented on Chen Chun's "Hollyhock and Bamboo" in his work "Ming Dynasty Paintings Collection," saying "In Chen's painting, the intertwined uses of light and dark ink in the flowers creates a naturally sparse and slanting chaos that mirrors reality, as if the scenery is coming to life." The beauty of the painting's brush strokes and ink rhythms exemplar the painter's technique and aesthetic.
The author, Chiang-Sung Mei-Ling (1897-2003), studied painting in her middle age. She was a gifted artist who appreciated the natural world. Her ink and wash painting techniques and brushstrokes resemble calligraphy's power: quiet and forte, fast and light. The hollyhocks are sometimes seen with recumbent, changing direction, and intentional dry strokes (flying white). On the one hand, the bamboos were painted with a center tip full of calligraphy style. On the other hand, the hollyhock leaves are splashed with ink and wash, with a strong and light weight, creating a contrasting yet elegant work. The painting was created from a sophisticated ink technique and imagery, portraying a literati’s interest in ink and wash painting concerning flowers.