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佚 名 農(nóng)事 通草畫
清代
ANONYMOUS FARMING
Water colour on pith paper
Qing Dynasty
9×7cm×12
RMB: 10,000-20,000
通草又名通脫木，五加科子喬木，莖中的髓顏色潔白，有絲絨的質(zhì)感。把這種植物樹心切成薄薄的切片，薄而半透明，可以用來作畫，所謂通草畫就是指繪制在這種材質(zhì)上的水彩畫。19世紀(jì)興起于廣州，主要用于出口，題材以反映清末的社會(huì)生活場景和各種形色人物為主，諸如官員像、兵勇像、雜耍圖、紡織圖、演奏圖等。作品造型生動(dòng)，色彩濃艷，人物刻畫惟妙惟肖。由于采用西方繪畫原理，又反映中國本土風(fēng)情，所以深受當(dāng)時(shí)西方人的喜愛。由于通草紙很容易破裂，所以很少有大尺寸的作品，加上難以保存，目前傳世不多。通草畫對研究中國早期的西畫發(fā)展有著重要的意義，同時(shí)也是今天我們研究當(dāng)時(shí)中國近代史的珍貴檔案，可以補(bǔ)充官修檔案和文人筆記等文獻(xiàn)記載之不足。
From the 1820s pith became a familiar material in Europe, under the name of rice-paper, as a raw material for artificial flowers, and as a medium for export paintings from China. The structure of pith sheets was early recognized as different to that of paper, but it was not until 1852 that William Jackson Hooker was able to describe the source plant, as Aralia papyrifera Hook, now Tetrapanax papyrifer (Hook.) K. Koch. Using his consular contacts, Hooker was able to build up a remarkable collection of pith, as raw materials, artificial flowers and Chinese paintings. In China，this kind of paintings sprang up in Guangzhou since 19th, they mainly depicted about life styles and portraits in late Qing dynasty. Vividly and bright-colored figures reflected native Chinese taste and were popular in the westerners. Because of the fragile pith paper, the size of paintings was usually small and they were not easy to conserve. They are significant to the research of Chinese early western painting and the supplement of the incomplete literal documentary record.