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- 資料識別：
- 故畫002117N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 邊文進
- 主題與關鍵字：
- 柏 梅（白．紅．蠟梅） 蘭．蕙 水仙 茶花 天竺 靈芝 柿 年節 花器 如意 松
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明宣宗宣德二年（1427）
- 格式：
- 本幅 108x46.1公分、詩塘 29.9x46.1公分、全幅 68公分
- 關聯：
- 石渠寶笈續編（寧壽宮），第五冊，頁2788&*故宮書畫錄（卷八），第四冊，頁75&*故宮書畫圖錄，第六冊，頁79-80&* 邊景昭（約活動於西元一三五六－一四二八年），字文進，福建沙縣人，祖籍甘肅隴西人。邊氏擅畫花果、翎毛，畫禽鳥極妙。初任職於永樂朝仁智殿，宣德間被授予武英殿待詔之職位。 此圖款署宣德二年（一四二七），為廳堂中立型堂花樣式，花材有松、柏、梅、蘭、山茶、水仙、靈芝、天竺、柿子、如意，有十全的意思，花器為銅壺。整瓶花之重心在下半成半圓形，其上以梅幹引向高遠空間，虛實相應。惟其筆墨與邊氏不類，款字為後人所增添。 &* Pien Wen-chin’s original name was Ching-chao. He was a native of Sha-hsien, Frkien, though his family originally came from Lung-hsi, Kansu. He excelled at painting flowers, fruits, birds, and other animals. He first served in the Jen-chih Hall during the Yung-lo reign (1403-1424) and later in the Wu-ying Hall during the Hsüan-te era as a Painter-in-Attendance. In this painting, dated to 1427, is a vase of flowers and plants similar to one that would have been decorative a wealthy household in traditional China. Depicted here are branches of pine, cedar, plum blossom, orchid, camellia, narcissus, spirit fungii, dahlia, persimmon, and ju-i, representing the ten auspicious plants for a prosperous New Year. They rest in a semi-circle at the top of a bronze vessel. Though most of the branches appear at the rim of the vessel, the plum blossoms reach far up towards the top. The brushwork, however, differs from other known specimens from the hand of Pien Wen-chin, so the signature shown here is probably a later addition. &* 本幅作於明宣宗宣德二年（1427）春正，正當一年之始，除舊布新之時，以歲朝時節擺設廳堂的瓶插來表現慶賀之意。古樸的銅壺內插梅、蘭、山茶、水仙、天竺、靈芝、松、柏、柿子、如意等十種花材，象徵十全。瓶花的重心偏於下方，上方以梅幹引向高處，虛實相應。筆墨沈穩，確有學習明初著名的宮廷花鳥畫家邊文進之意，但仍有差異，款字顯是後人添加。 邊文進（約1356-約1428），字景昭，福建沙縣人，祖籍甘肅隴西。擅畫花果、翎毛，畫禽鳥極妙。(20110102)&* This work was done at the beginning of the Lunar New Year in 1427. The start of a year is not only a time to bring in the new, it is also the season for decorating halls with vases of flowers to express an atmosphere of celebration. In the bronze vessel here are the branches of ten kinds of flowers, plants, and objects, such as the plum blossom, orchid, camellia, narcissus, dahlia, spirit fungus, pine, cypress, persimmon, and ruyi, symbolizing complete perfection. The center of gravity for the flower vase is low, so when the branch of plum blossoms extends high above, it creates a compositional contrast between solid and void. The brushwork is steady and mature, revealing the artist’s study of the style of Bian Wenjin, the famous early Ming dynasty court painter of bird-and-flower subjects. There are differences, however, indicating that the signature here is an obvious later addition. Bian Wenjin (style name Jingzhao) was a native of Shaxian in Fujian whose ancestors came from Longxi in Gansu. He excelled at painting flowers, fruits, and animals, being especially gifted at the depiction of birds.(20110102)&*1.〈傳明 邊文進 歲朝圖〉，收入譚怡令、劉芳如、林莉娜主編，《滿庭芳 歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁70。
- 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
