宋崔白竹鷗圖 軸
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- 資料識別：
- 故畫000064N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 崔白（Cui Bo）
- 主題與關鍵字：
- 竹 鷺鷥 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 101.3x49.9公分、全幅 89公分
- 關聯：
- 石渠寶笈初編（重華宮），下冊，頁802 &*故宮書畫錄（卷五），第三冊，頁60 &*故宮書畫圖錄，第一冊，頁259-260&*1.林柏亭，〈帝國的回憶 國立故宮博物院瑰寶赴法展專輯一 — 崔白竹鷗圖〉，《故宮文物月刊》，第185期（1998年8月），頁26-27。 &*本幅畫翠竹、蘆草隨風搖曳，水波也起伏盪漾，白鷺一隻立於水中，則是放低了姿勢，採逆向迎風、涉水而行的姿態，動靜之間，形成均衡畫幅的力量。幅上雖有崔白二字款，若和院藏崔白的「雙喜圖」相比較，在刻劃花鳥的情態、掌握自然環境中一剎那生動的情景，兩者的風味相類；但在用筆方面，崔白的筆墨線條，無論粗細柔勁、濃淡乾濕、起伏頓挫，都為表現物象的質感、動態，隨物變化。而在「竹鷗圖」中，畫白鷗的線條細挺，畫竹子、蘆草和坡石則是時有斷續、富有彈性的線條，與院藏宋人「翠竹翎毛」中那種起伏變化明顯，偏向於南宋風格的線條較為接近，因此本幅雖非崔白所作，但屬宋代受崔白影響的作品之一。 崔白（活動於11世紀後半），字子西，濠梁（今安徽鳳陽）人。宋仁宗時（1022-1062）畫院學藝。舉凡道釋、人物、禽獸、花卉無不精絕，尤擅長於花竹、山兔、枯荷、水鳧、野雁之類。&* 崔白字子西，濠梁（今安徽鳳陽)人，仁宗時（西元一O二二至一O六三)畫院藝學。道釋、人物、禽獸、花卉無不精絕，尤擅花竹、山兔、枯荷、水鳧、野雁之類。 翠竹、水草隨風搖曳，水波亦起伏盪漾。白鷺則逆向涉水，低姿迎風，形成均衡畫幅之力量，益饒動態之趣。 &* Ts'ui Po, tzu Tzu-hsi, was a native of Hao-ling in Anhui province. He worked in the Imperial Academy of Painting during the reign of Emperor Jen-tsung (r. 1022- 1063), and was skilled in depicting Buddhist and Taoist subjects, figures, flowers, birds, and other small animals in light, clear color. He was especially noted for his depictions of flowers and bamboo, wild rabbits, withered lotuses, and wild ducks and geese. In this painting water grasses waver gently in the breeze under green bamboo and small waves rise to be gently tossed about. An egret wades in the water, advancing into the wind. The painting, charged with energy, conveys a vivid, lifelike impression. &*崔白（活動於11世紀後半），字子西，濠梁（今安徽鳳陽)人。仁宗時畫院藝學。道釋、人物、禽獸、花卉無不精絕。 本幅畫翠竹、水草隨風搖曳，水波亦起伏盪漾。白鷺則逆向涉水，低姿迎風，饒富動態之趣。作者以挺勁有力的筆觸鉤畫竹竿、竹葉和蘆葦，用細若游絲的線條鉤勒白鷺的輪廓，且仔細地絲出白鷺的羽毛。從畫風來看，此畫雖與崔白不類，但繪製精謹細膩，可能為南宋畫家所為。 (20110913)&*Cui Bo (style name Zixi), a native of Haoliang (modern Fengyang, Anhui), served as an Art Student in the Painting Academy under Emperor Renzong. He was skilled at depicting Buddhist and Taoist subjects, figures, flowers, birds, and other animals all with consummate refinement. In this painting, water grasses flutter gently in the breeze under green bamboo as small waves rise and are lightly tossed about. A white egret wades against the flow, advancing low into the wind and making the forms come to life with energy. The artist used strong and upright brush strokes to render the bamboo stalks and leaves as well as the reeds. To outline the egret, however, he employed lines as fine as spun silk strands, which he used to delicately “weave” the feathers. Judging from the style, this painting is unrelated to Cui Bo, but the refined and delicate manner suggests it may have come from the hand of a Southern Song artist. (20110913)
- 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
