線上文物特展
| 時代： | 西元1950年代 A.D. 1950s |
| 尺寸： | 長度：182 cm 寬度：124.5 cm (未含外框) Length：182 cm Width：124.5 cm |
| 質地： | 油畫布 Oil painting |
常玉‟青花盆中的粉菊(120號)” San Yu "Pink Chrysanthemums in a Blue and White Pot" (No. 120)
此幅常玉‟青花盆中的粉菊(120號)”為常玉的油畫靜物作品，此幅畫作花盆底部、枝幹部分、花和葉子局部，稍微以書法性白色系線條或同色系線條打邊，立體、色澤深淺不一的線條瀟灑十足，並納入山水圖畫的留白概念，整幅畫構圖簡約。
This piece is Sanyu's oil painting still life "Pink Chrysanthemums in a Blue and White Pot" (No. 120). The painting depicts the bottom of the pot, branches, flowers, and leaves with slightly calligraphic white or monochromatic lines outlining the edges. The lines, varying in depth and color, are free-flowing and incorporate the concept of blank space from landscape paintings, resulting in a simple composition.
This piece is Sanyu's oil painting still life "Pink Chrysanthemums in a Blue and White Pot" (No. 120). The painting depicts the bottom of the pot, branches, flowers, and leaves with slightly calligraphic white or monochromatic lines outlining the edges. The lines, varying in depth and color, are free-flowing and incorporate the concept of blank space from landscape paintings, resulting in a simple composition.
| 時代： | 西元1950年代 A.D. 1950s |
| 尺寸： | 長度：180 cm 寬度：121 cm (未含外框) Length：180 cm Width：121 cm |
| 質地： | 油畫布 Oil painting |
常玉‟紅底盆菊(120號)” San Yu " Red-Based Chrysanthemums in a Pot (No. 120)"
此幅常玉的‟紅底盆菊(120號)”為常玉的油畫靜物作品，此幅畫作花盆底部、枝幹部分、花和葉子局部，稍微以書法性暗紅色系線條或同色系線條打邊，立體、色澤深淺不一的線條瀟灑十足，並納入山水圖畫的留白概念，整幅畫構圖簡約。此幅畫作以紅色為背景、黃色為桌面，背景的紅色深淺不同，隱約看得出背景下方應有畫過其他畫的痕跡，符合常玉在同一畫布上重複做畫的特性。
San Yu's "Red-Based Chrysanthemums in a Pot (No. 120)" is an oil painting depicting still life. The bottom of the flowerpot, branches, flowers, and leaves are outlined with calligraphy-like dark red or monochromatic lines, creating lively and three-dimensional lines with varying shades. The painting incorporates the concept of blank spaces from traditional landscape paintings, resulting in a simple composition. The background, painted in red, and the tabletop in yellow feature varying shades of red, hinting at traces of other paintings beneath, consistent with San Yu's practice of repeatedly painting on the same canvas.
San Yu's "Red-Based Chrysanthemums in a Pot (No. 120)" is an oil painting depicting still life. The bottom of the flowerpot, branches, flowers, and leaves are outlined with calligraphy-like dark red or monochromatic lines, creating lively and three-dimensional lines with varying shades. The painting incorporates the concept of blank spaces from traditional landscape paintings, resulting in a simple composition. The background, painted in red, and the tabletop in yellow feature varying shades of red, hinting at traces of other paintings beneath, consistent with San Yu's practice of repeatedly painting on the same canvas.
| 時代： | 西元1950年代 A.D. 1950s |
| 尺寸： | 長度：180 cm 寬度：121.5 cm (未含外框) Length：180 cm Width：121.5 cm |
| 質地： | 油畫布 Oil painting |
常玉‟盆中的果樹(120號)” San Yu "Fruit Trees in a Pot (No. 120)"
此幅常玉的‟盆中的果樹(120號)”為常玉的油畫靜物作品，此幅畫作花盆底部、枝幹部分、果實、花和葉子局部，稍微以書法性黑色系線條打邊，立體、色澤深淺不一的線條瀟灑十足，並納入山水圖畫的留白概念，整幅畫構圖簡約。
San Yu's "Fruit Trees in a Pot (No. 120)" is an oil painting depicting still life. The bottom of the flowerpot, branches, fruits, flowers, and leaves are outlined with calligraphy-like black lines, creating lively and three-dimensional lines with varying shades. The painting incorporates the concept of blank spaces from traditional landscape paintings, resulting in a simple composition.
San Yu's "Fruit Trees in a Pot (No. 120)" is an oil painting depicting still life. The bottom of the flowerpot, branches, fruits, flowers, and leaves are outlined with calligraphy-like black lines, creating lively and three-dimensional lines with varying shades. The painting incorporates the concept of blank spaces from traditional landscape paintings, resulting in a simple composition.
| 時代： | 西元1950年代 A.D. 1950s |
| 尺寸： | 長度：180 cm 寬度：123 cm (未含外框) Length：180 cm Width：123 cm |
| 質地： | 油畫布 Oil painting |
常玉‟向陽白牡丹(120號)” San Yu " White Peonies Facing the Sun (No. 120)"
此幅常玉的‟向陽白牡丹(120號)”為常玉的油畫靜物作品，此幅畫作花盆、枝幹部分、花和葉子局部，稍微以書法性淺咖啡色系線條或同色系線條打邊，立體、色澤深淺不一的線條瀟灑十足，並納入山水圖畫的留白概念，整幅畫構圖簡約。
Sanyu's "White Peonies Facing the Sun (No. 120)" is an oil painting still life by the artist Sanyu. The painting depicts parts of a flowerpot, branches, flowers, and leaves, with borders drawn in calligraphic light brown lines or lines of the same color scheme, creating lively lines of varying depth and shade. The painting incorporates the concept of blank space from landscape painting, presenting a simple composition.
Sanyu's "White Peonies Facing the Sun (No. 120)" is an oil painting still life by the artist Sanyu. The painting depicts parts of a flowerpot, branches, flowers, and leaves, with borders drawn in calligraphic light brown lines or lines of the same color scheme, creating lively lines of varying depth and shade. The painting incorporates the concept of blank space from landscape painting, presenting a simple composition.
| 時代： | 西元1950年代 A.D. 1950s |
| 尺寸： | 長度：180 cm 寬度：121 cm (未含外框) Length：180 cm Width：121 cm |
| 質地： | 油畫布Oil painting |
常玉‟盆菊與蝶(120號)” San Yu "Chrysanthemums and Butterflies (No. 120)"
此幅常玉的‟盆菊與蝶(120號)”為常玉的油畫靜物作品，此幅畫作花盆底部、枝幹部分、花和葉子局部，稍微以書法性金黃色系線條或同色系線條打邊，立體、色澤深淺不一的線條瀟灑十足，並納入山水圖畫的留白概念，整幅畫構圖簡約。此幅畫作以紅色為背景、黃色為桌面，背景的紅色深淺不同，隱約看得出背景下方應有畫過其他畫的痕跡，符合常玉在同一畫布上重複做畫的特性。
San Yu's "Chrysanthemums and Butterflies (No. 120)" is an oil painting depicting still life. The artwork portrays the bottom of a flower pot, branches, and details of flowers and leaves. Calligraphic golden lines or lines of the same color are used to outline certain parts, creating a three-dimensional and varied color effect. The painting incorporates the concept of blank space from traditional landscape paintings, presenting a simple composition.
San Yu's "Chrysanthemums and Butterflies (No. 120)" is an oil painting depicting still life. The artwork portrays the bottom of a flower pot, branches, and details of flowers and leaves. Calligraphic golden lines or lines of the same color are used to outline certain parts, creating a three-dimensional and varied color effect. The painting incorporates the concept of blank space from traditional landscape paintings, presenting a simple composition.
| 時代： | 西元1950年代 A.D. 1950s |
| 尺寸： | 長度：180 cm 寬度：125 cm (未含外框) Length：180 cm Width：125 cm |
| 質地： | 油畫布 Oil painting |
常玉‟花團錦簇(120號)” San Yu "Abundance of Flowers" (No. 120)
此幅常玉的‟花團錦簇(120號)”為常玉的油畫靜物作品，此幅畫作花盆底部、枝幹部分、果實、花和葉子局部，稍微以書法性白色或同色系線條打邊，立體、色澤深淺不一的線條瀟灑十足，並納入山水圖畫的留白概念，整幅畫構圖簡約。
This piece is Sanyu's oil painting still life "Abundance of Flowers" (No. 120). The painting depicts the bottom of the pot, branches, fruits, flowers, and leaves with slightly calligraphic white or monochromatic lines outlining the edges. The lines, varying in depth and color, are free-flowing and incorporate the concept of blank space from landscape paintings, resulting in a simple composition.
This piece is Sanyu's oil painting still life "Abundance of Flowers" (No. 120). The painting depicts the bottom of the pot, branches, fruits, flowers, and leaves with slightly calligraphic white or monochromatic lines outlining the edges. The lines, varying in depth and color, are free-flowing and incorporate the concept of blank space from landscape paintings, resulting in a simple composition.
| 時代： | 西元1940年代 A.D. 1940s |
| 尺寸： | 長度：90 cm 寬度：61 cm (未含外框) Length：90 cm Width：61 cm |
| 質地： | 油畫布 Oil painting |
常玉‟紅底黃菊” San Yu "Yellow Chrysanthemums on Red Background"
此幅常玉的‟紅底黃菊”為常玉的油畫靜物作品，此幅畫作花瓶與背景交疊的部分、花和葉子局部，稍微以書法性白色線條打邊，立體、色澤深淺不一的線條瀟灑十足，並納入山水圖畫的留白概念，整幅畫構圖簡約。
This painting, "Yellow Chrysanthemums on Red Background," by Sanyu, is an oil still-life artwork that features a vase of chrysanthemums against a background of overlapping colors. Certain parts of the vase, flowers, and leaves are subtly outlined with white brushstrokes reminiscent of calligraphy. The varying thickness and shades of the three-dimensional lines exude an air of casual elegance. The painting incorporates the concept of space from traditional Chinese landscape art, resulting in a composition with a minimalist layout.
This painting, "Yellow Chrysanthemums on Red Background," by Sanyu, is an oil still-life artwork that features a vase of chrysanthemums against a background of overlapping colors. Certain parts of the vase, flowers, and leaves are subtly outlined with white brushstrokes reminiscent of calligraphy. The varying thickness and shades of the three-dimensional lines exude an air of casual elegance. The painting incorporates the concept of space from traditional Chinese landscape art, resulting in a composition with a minimalist layout.
| 時代： | 西元1940年代 A.D. 1940s |
| 尺寸： | 長度：約90.5 cm 寬度：約61 cm (未含外框) Length：90.5 cm Width：61 cm |
| 質地： | 油畫布 Oil painting |
常玉‟牧童與水牛” San Yu "Cowherd and Water Buffalo"
此幅常玉的‟牧童與水牛”為常玉少見同時有人物和動物的油畫作品，此幅畫作納入山水圖畫的留白概念，整幅畫構圖簡約。
This painting, "Cowherd and Water Buffalo," by Sanyu, is a rare oil artwork that combines both figures and animals.
This painting, "Cowherd and Water Buffalo," by Sanyu, is a rare oil artwork that combines both figures and animals.
| 時代： | 西元1944年 A.D. 1944 |
| 尺寸： | 長度：約 91 cm 寬度：約 123 cm (未含外框) Length：91 cm Width：123 cm |
| 質地： | 油畫布Oil painting |
林風眠油畫‟大鬧天宮”Mr. Lin Fengmian "Great Uproar in Heaven"
此幅林風眠‟大鬧天宮”是林風眠先生44歲時創作，林風眠先生在法國遊學時深受馬諦斯為代表的野獸派影響，畫風強烈、用色大膽鮮豔，因此此畫中人物的臉譜、背景皆為重色，豐富且飽和。
The painting "Great Uproar in Heaven" by Mr. Lin Fengmian was created when he was 44 years old. During his studies in France, Mr. Lin Fengmian was deeply influenced by the Fauvist movement, represented by artists like Matisse. As a result, this artwork showcases a strong and vibrant style with bold and vivid colors.
The painting "Great Uproar in Heaven" by Mr. Lin Fengmian was created when he was 44 years old. During his studies in France, Mr. Lin Fengmian was deeply influenced by the Fauvist movement, represented by artists like Matisse. As a result, this artwork showcases a strong and vibrant style with bold and vivid colors.
| 時代： | 西元1942年 A.D. 1942 |
| 尺寸： | 長度：90.5 cm 寬度：122.5 cm (未含外框) Length：90.5 cm Width：122.5 cm |
| 質地： | 油畫布Oil painting |
林風眠油畫‟火燒赤壁” Mr. Lin Fengmian " Fire at Red Cliffs "
此幅林風眠‟火燒赤壁”是林風眠先生42歲時創作，林風眠先生在法國遊學時深受馬諦斯為代表的野獸派影響，畫風強烈、用色大膽鮮豔，因此此畫中人物的臉譜、背景皆為重色，豐富且飽和。
The painting "Fire at Red Cliffs" by Mr. Lin Fengmian was created when he was 42 years old. During his studies in France, Mr. Lin Fengmian was deeply influenced by the Fauvist movement, represented by artists like Matisse.
The painting "Fire at Red Cliffs" by Mr. Lin Fengmian was created when he was 42 years old. During his studies in France, Mr. Lin Fengmian was deeply influenced by the Fauvist movement, represented by artists like Matisse.
| 時代： | 西元1947年 A.D. 1947 |
| 尺寸： | 長度：122 cm 寬度：89.5 cm (未含外框) Length：122 cm Width：89.5 cm |
| 質地： | 油畫布 Oil painting |
林風眠油畫‟白蛇傳” Mr. Lin Fengmian "Legend of the White Snake"
此幅林風眠油畫‟白蛇傳”是林風眠先生47歲時創作，林風眠先生在法國遊學時深受馬諦斯為代表的野獸派影響，畫風強烈、用色大膽鮮豔，因此此畫中人物的衣飾、背景皆為重色，豐富且飽和。
The oil painting "Legend of the White Snake" by Mr. Lin Fengmian was created when he was 47 years old. During his studies in France, Mr. Lin Fengmian was deeply influenced by the Fauvist movement, represented by artists like Matisse.
The oil painting "Legend of the White Snake" by Mr. Lin Fengmian was created when he was 47 years old. During his studies in France, Mr. Lin Fengmian was deeply influenced by the Fauvist movement, represented by artists like Matisse.
| 時代： | 西元1945年 A.D. 1945 |
| 尺寸： | 長度：122 cm 寬度：91 cm (未含外框) Length：122 cm Width：91 cm |
| 質地： | 油畫布 Oil painting |
林風眠油畫‟京劇關羽與趙雲(漢津口)” Mr. Lin Fengmian "Peking Opera: Guan Yu and Zhao Yun (Han Jin Gate)"
此幅林風‟京劇關羽與趙雲(漢津口)”是林風眠先生45歲時創作，林風眠先生在法國遊學時深受馬諦斯為代表的野獸派影響，畫風強烈、用色大膽鮮豔，因此此畫中人物的衣飾、背景皆為重色，豐富且飽和。京劇漢津口描述趙雲突圍，交阿斗於劉備，時曹操領兵追至，幸得關羽搬來劉琦之兵抵禦，終得脫險。畫中關羽紅臉、長鬚，鬍鬚以平刷法畫之，眼睛上挑，右手持馬鞭，馬鞭向下為下馬之意，趙雲臉龐俊秀，右手持馬鞭、馬鞭向上，可知趙雲方策馬而至。此幅的人物服飾部分，盡情扭曲、變形、疊加、組合各種幾何圖形，是林風眠先生的標準慣性畫風。
The painting "Peking Opera: Guan Yu and Zhao Yun (Han Jin Gate)" by Mr. Lin Fengmian was created when he was 45 years old. During his studies in France, Mr. Lin Fengmian was deeply influenced by the Fauvist movement, represented by artists like Matisse. As a result, this artwork showcases a strong and vibrant style with bold and vivid colors. The painting depicts a scene from Peking Opera where Zhao Yun breaks through the enemy lines to deliver Liu Bei's son, Adou, while Cao Cao's forces chase after them. Fortunately, Guan Yu arrives with reinforcements from Liu Qi, successfully fending off the pursuers. In the painting, Guan Yu is portrayed with a red face and a long beard. His beard is depicted using flat brushstrokes, and his eyes are slightly uplifted.
The painting "Peking Opera: Guan Yu and Zhao Yun (Han Jin Gate)" by Mr. Lin Fengmian was created when he was 45 years old. During his studies in France, Mr. Lin Fengmian was deeply influenced by the Fauvist movement, represented by artists like Matisse. As a result, this artwork showcases a strong and vibrant style with bold and vivid colors. The painting depicts a scene from Peking Opera where Zhao Yun breaks through the enemy lines to deliver Liu Bei's son, Adou, while Cao Cao's forces chase after them. Fortunately, Guan Yu arrives with reinforcements from Liu Qi, successfully fending off the pursuers. In the painting, Guan Yu is portrayed with a red face and a long beard. His beard is depicted using flat brushstrokes, and his eyes are slightly uplifted.
