明鄭石畫芙蓉白鷺 軸
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- 資料識別：
- 故畫000668N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 鄭石
- 主題與關鍵字：
- 鷺鷥 芙蓉 楊柳 江河、湖海
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 144.4x74.3公分、全幅 75.5公分
- 關聯：
- 石渠寶笈三編（延春閣），第五冊，頁2099&*故宮書畫錄（卷五），第三冊，頁493&*故宮書畫圖錄，第九冊，頁251-252&* There are very few details known about the biography of Cheng Shih. He was a court painter in the Ming dynasty and signed his works as Battalion Commander of the Imperial Bodyguard, a military unit that also provided sinecures for court painters. He was skilled in bird-and-flower painting, and he derived his style from the Ming court artist Lü Chi. In comparison to Egrets and Hibiscus in Autumn and Geese on a Bank in Autumn by Lü Chi, Cheng Shih’s composition is much more simplified. His brushwork in the trees, rocks, and birds is neither detailed nor fine, and the differing pressure on the brush tip in the strokes is overly obvious. This type of abbreviated and coarse brushwork is much more akin to a style belonging to the late Che School. &* 鄭石，生卒年不詳。係明畫院中人，自署錦衣百戶。工畫花鳥，其畫之風格出自宮廷花鳥畫家呂紀。 畫幅之構圖和樹、石、花鳥的用筆，比之呂紀「秋鷺芙蓉」、「秋渚水禽」，顯見在佈局上較呂氏為簡化。而用筆則不如其細緻，有著較明顯之提頓變化，漸趨向於浙派晚期之風味。 &*1.譚怡令，〈明鄭石芙蓉白鷺〉，收入譚怡令編，《呂紀花鳥畫特展》（臺北：國立故宮博物院，1995年初版），頁110-111。 2.〈明鄭石芙蓉白鷺〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁178。
- 管理權：
- 國立故宮博物院
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- 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
