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- 資料識別：
- 中畫000058N000000000
- 資料類型：
- 繪畫
- 著作者：
- 呂紀
- 主題與關鍵字：
- 秋景
- 鶺鴒
- 雁
- 菊
- 芙蓉
- 蘆葦
- 夜景（月景）
- 溪澗、湍泉
- 格式：
- 本幅 177.2x107.3公分
- 全幅 134公分
- 關聯：
- 故宮書畫錄（卷五），第三冊，頁333
- 盛京故宮書畫錄，第五冊，頁18a
- 故宮書畫圖錄，第七冊，頁177-178
- 呂紀，（活動於西元1429－1505年間），浙江鄞縣（今寧波）人。字廷振，號樂愚，一作樂漁。弘治（1488－1505）間值仁智殿，官至錦衣指揮。花鳥初學邊文進（活動於1403－1428），後摹唐宋諸名家筆，而更精妙。 烟嵐迷漫的秋夜裡，明月半懸，四隻豆雁棲息在半隱半現的木芙蓉和蘆葦叢間的坡地上，其中三隻已入眠，另一隻則正對著明月引頸長鳴。但作者所要呈現的應不只是雁群在夜間棲息時，會由一雁警戒守夜的習性而已，還有一份對時、對景抒發情懷的心境，進而畫出了秋夜的淒清。幅中畫鳥畫花的筆墨，工整細緻而不刻板，畫石則較寫意，這種結合工寫，又能掌握住情境氣氛的作品，正是呂紀所擅長的繪畫風格，並對後世畫家有極大的影響。（譚怡令）
- Geese on a Bank in AutumnLü Chi (act. ca. 1439-1505)Ming Dynasty Lü Chi (style name T’ing-chen, sobriquet Yao-yü) was a native of Ning-po, Chekiang province. During the Hung-chih period (1488-1505), he served in the Jen-chih Hall and held the rank of commander in the Imperial Bodyguard, a military unit that also provided sinecures for court painters. In bird-and-flower painting, he initially studied the works of Pien Wen-chin and later emulated the paintings of famous T’ang (618-907) and Sung (960-1279) dynasty artists. The original title of this painting was Geese among Reeds and Hibiscus. In this painting, four geese gather into a group to sleep. A gander standing on the bank stretches his neck toward the moon and cries out an alarm. The pair of wagtails perched on a branch represent an interesting, additional decorative element in the composition. The artist has succeeded in portraying a misty scene evocative of a peaceful autumn night. The combination of meticulous brushwork (kung-pi) with expressive ideas (hsieh-i) and the use of outlining techniques with the “boneless” method (mo-ku) are traits of Lü Chi which greatly influenced artists of later generations.
- 呂紀（活動於西元一四七七－一四九七年間），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，始臻其妙。弘治（西元一四八八－一五○五年）間被徵值仁智殿，授錦衣衛指揮使。 雁群聚宿，一雄戒夜，對月而鳴。蘆葉芙蓉，互相糾結，鶺鴒一雙棲息其間，而一片溟濛夜氣，全得力於烘染之功。深秋寒夜，江渚淒聲，筆墨之間，形容殆盡。
- Geese on an Autumn IsletLü Chi (fl. ca. 1477-1497)Ming Dynasty Lü Chi, style name T’ing-chen, sobriquet Yao-yü was a native of Yin County, Chekiang. In the genre of flower and bird painting, Lü initially studied the works of the early Ming dynasty painter, Pien Wen-chin. He later emulated the works of the T’ang (618-907) and Sung (960-1279) masters. He eventually became one of the greatest painters of birds and flowers of the Ming dynasty. During the Hung-chih era (1488-1505), he was summoned to serve in the Hall of Benevolent Wisdom (Jen-chih Tien) in the imperial court. Lü served as a commander in the Imperial Bodyguard, a military unit that also provided sinecures for court painters. A flock of wild geese sleeps on a small islet along a river. One keeps watch, calling to the moon. Above them, among the intertwined reeds and hibiscus, perches a pair of wagtails. The desolate chill of the autumn night enveloped in drifting bands of mists is sensitively communicated through the artist’s masterful use of washes.
- 呂紀（活動於西元一四三九─一五０五年間），浙江鄞縣（今寧波）人。字廷振，號樂愚，一作樂漁。孝宗弘治（一四八八─一五０五）間值仁智殿，官至錦衣指揮。花鳥初學邊文進，後摹唐宋諸名家筆，結合工寫，益臻其妙。 此畫原籤題為芙蓉蘆雁。畫四隻豆雁群宿，一雄戒夜，對月而鳴，另有一雙鶺鴒點綴畫面。畫家藉煙水蒼茫、雲煙變化的光影效果，塑造出一片安謐柔美的秋夜風情。呂氏「兼工帶寫」的花鳥畫風格，兼融勾勒與沒骨淡彩，準確把握住翎毛花卉的姿態神韻，對後世畫家有極大影響。
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- 國立故宮博物院
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