明宣宗畫花下貍奴圖 軸
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- 資料識別：
- 故畫000421N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 朱瞻基 明宣宗（Emperor Xuanzong Ming Dynasty）
- 主題與關鍵字：
- 奇石 菊 貓（貍奴）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明宣宗宣德元年（1426）
- 格式：
- 本幅 41.5x39.3公分、詩塘 31x39.3公分、全幅 59.7公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁648&*故宮書畫錄（卷五），第三冊，頁307&*故宮書畫圖錄，第六冊，頁139-140&*宣宗（西元一三九九─一四三五年）姓朱，名瞻基。明成祖長孫，明代第五位皇帝，年號宣德。宣宗雅尚詞翰繪事，於書畫之作，隨意自然，往往與宣和爭勝。 此圖繪文石、野菊，二貍奴戲於石下。畫家先填染底色，再鈎描皴擦毛髮及斑紋。太湖石先以筆勾勒輪廓，再以乾筆皴擦石面，畫菊則以細筆勾勒敷彩。此幅畫貓頗有追彷宣和畫院畫家李迪之風貌，具有清新優雅的氣息。 &*Emperor Hsüan-tsung, whose personal name was Chu Chan-chi, was the grandson of Emperor Ch’eng-tzu (r.1403-1424). The fifth emperor of the Ming dynasty, he ruled from 1425 to 1435 under the reign name Hsüan-te. He enjoyed writing poems and painting, and he was able to produce free and natural works. He can thus be compared to Emperor Hui-tsung (r.1101-1125), the famous Northern Sung emperor who was a renowned artist and calligrapher. This painting is a depiction of two cats playing by a T’ai- hu rock and wild chrysanthemums. In painting the cats, the artist first applied a wash for the body then painted the stripes and the texture of the fur. For the T’ai-hu rock, the method was reversed, first outlining the contour of the rock and then using a dry brush to paint the rock surfaces. The artist used a fine brush to outline and color the chrysanthemums. This elegant, refined painting imitates the style of Li Ti, a Northern Sung Imperial Painting Academy artist. &*根據款識，此圖成於明宣宗宣德元年（西元一四二六年），歲次丙午，描繪兩隻在湖石、野菊下面舔爪歇息的貓兒。畫家以沒骨法處理貓兒的身軀，先填染底色，再鈎描皴擦毛髮及斑紋，以營造毛茸茸的質感。湖石先以粗細不一的線條勾勒輪廓，再以乾筆皴擦石面，盛開的菊花則以細筆勾勒敷彩。此幅畫貓頗有追仿北宋(九六０－一一二七)徽宗宣和畫院的風貌，具有清新優雅的氣息。(20120407)&* Judging from the signature, this work was done in the first year of Xuanzong’s reign (1426; bingwu). It depicts 2 cats, one at rest and the other licking its paws, a garden rock and chrysanthemums nearby. The artist used “boneless” washes to render their bodies. First a background wash was applied and then outline washes for the stripes and fur, conveying their soft and furry quality. For the garden rock, irregular outlines were applied and then texture strokes with a dry brush for the surface. As for the chrysanthemums, first fine brushwork was employed for the outlines, which were then filled with colors. This painting closely imitates the Painting Academy manner of Emperor Huizong in the Northern Song (960-1127), having a pure and refined style.(20120407)
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
