明呂紀荷渚睡鳧 軸
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- 資料識別：
- 故畫002981N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 呂紀
- 主題與關鍵字：
- 夜景（月景） 蓮荷 蘆葦 鴨．鳧 鶺鴒 溪澗、湍泉
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 174.5x104.2公分、全幅 130公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁661&*故宮書畫錄（卷八），第四冊，頁78&*故宮書畫圖錄，第七冊，頁207-208&*月夜時分，嵐霧淒迷，蘆葦、荷葉隱現其間，洲渚上棲息大雁四隻。構圖上只有近、中景，遠景則多省略不繪。本幅雖有呂紀名款，然有存疑之處，且通幅之筆力較為薄弱，當非呂氏之原蹟。但其景物佈置與氣氛營造與另一張本院收藏呂紀「秋渚水禽」頗為接近，故此應為一相當忠實於呂氏風格之仿作，可從此畫中一窺呂紀寫意風格的面貌。 呂紀(活動於西元一四三九-一五0五年間)，浙江寧波人。字廷振，號樂愚，亦作樂漁。呂紀為明代中葉著名的宮廷花鳥畫家，孝宗弘治(西元一四八八-一五0五年)間值仁智殿，官至錦衣衛指揮。花鳥初學邊文進(活動於一四0三-一四二八)，後摹仿唐宋諸名家，結合工筆、寫意法，呈現出多種面貌，頗具個人特色 &*On a moonlit night in thick fog, four geese rest on a sand bar amidst lotuses and rushes. The composition only includes the foreground and middleground, and the background has been omitted. This work bears the signature of Lu Chi, but the authenticity is in question due to the weakness of the brushwork, which does not match that of his other paintings. The position of each part and the atmosphere here is similar to those in another work by Lu in the Museum entitled “Waterfowl on an Autumn Islet”. Thus, the painting here probably reflects a faithful imitation of Lu’s style, which nonetheless provides a glimpse of his “sketching ideas” manner. Lu Chi, a native of Chekiang, initially studied the bird-and-flower style of the early Ming painter Pien Wen-chin (fl. 1403-1428). He later followed the manners of the old masters, eventually becoming a master in his own right. By combining the fine-line and “sketching ideas” techniques, he was able to create a multifaceted style all his own. In the Hung-chih era (1488-1505), Lu Chi served as a court painter at the Jen-chih Hall and was also provided with a sinecure post in the Imperial Bodyguard. &* 呂紀（活動於西元一四三九－一五○五年間），浙江鄞縣人。字廷振，號樂愚，一作樂漁。花鳥初學邊文進，後摹唐宋諸名家筆。弘治（一四八八－一五○五）年間被徵值仁智殿，為錦衣衛指揮使。月夜時分，嵐霧淒迷，蘆葦、荷葉隱現其間，洲渚上棲息大雁四隻。此幅各景物佈置與氣氛之營造，類似院藏呂紀「秋渚水禽」，然所呈現較寫意筆法卻不及之，疑是後人仿其意而作。&*Ducks Sleeping on a Lotus Bank Lü Chi (fl. ca. 1439-1505) Ming Dynasty Lü Chi, a native of Chekiang, initially studied the bird-and-flower style of the early Ming painter Pien Wen-chin. He later followed the old masters, eventually becoming a master in the subject. In the Hung-chih era (1488-1505), he served as a court painter and was also provided with a sinecure post. On a moonlit night in thick fog, four geese rest on a sand bar amidst lotuses and rushes. The position of each part and the atmosphere here is similar to those in another work by Lü in the Museum entitled Waterfowl on an Autumn Islet. However, the brushwork here lacks the sureness and resonance of Lü Chi’s mature brushwork, and the painting here thus might be by a later artist imitating Lü’s style. &*1.譚怡令，〈明呂紀荷渚睡鳧〉，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104。
- 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
