宋人翠竹翎毛 軸
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- 資料識別：
- 故畫000875N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 主題與關鍵字：
- 竹 雉（錦雞．雉類） 山雀 枸杞
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 185x109.9公分、全幅 124公分
- 關聯：
- 故宮書畫錄（卷五），第三冊，頁153-154 &*故宮書畫圖錄，第三冊，頁137-138&*「翠竹翎毛」記錄了鳥類在大自然中的生活片段。寒天積雪未深，天氣還不是十分寒冷，於是鳥兒們便出來活動了。叢竹下的石坡上，安靜的蹲踞著一對雉雞，但牠們上方的竹林間，卻不是那麼安靜了。四隻黑臉噪（眉鳥）中，三隻停棲在竹枝上，其中一隻張口欲言，似是在和正飛離的那隻相呼應，好像有什麼事發生，這讓寂靜的畫面頓時生動了起來，可見畫家安排之巧！這幅畫的筆墨質樸，除了部分細枝外，都以先鉤輪廓線再填染顏色的「雙鉤填彩法」畫成，行筆有很多起伏提頓的地方，其中以坡石和竹葉的輪廓線最為明顯。而竹葉部份，這種特別的顫動式的線條，名為「戰筆」。在繪畫史的記載中，南唐李後主（937-978）以「金錯刀」筆法為其書畫的特色，雖現今已見不到相關的作品，不過從對此筆法的描述和本幅的「戰筆」相類來看，或許可由此而有所體認！另畫上雄雉胸腹間的筆墨和別處相比較，顯得較為滯弱，則應是原來的畫絹破損後，由後人補筆所造成的差異了。(譚怡令)&*1.譚怡令，〈宋人翠竹翎毛〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁166-167。 2.譚怡令，〈宋人翠竹翎毛〉，收入譚怡令編，《畫?珍禽》（臺北：國立故宮博物院，1988年十月初版），頁87-88。 3.譚怡令，〈書畫菁華特展 — 宋人翠竹翎毛〉，《故宮文物月刊》，第163期（1996年10月），頁49。 4.譚怡令，〈宋人翠竹翎毛〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁286。 &*寒雪初飄，一對雉雞蹲伏坡石上。翠竹數竿，山鳥三兩成群，棲於枝葉間，另有一鳥振翅欲飛，沈寂的畫面中又添具生動之趣。竹以雙鉤為之，竹葉全用戰筆。此幀筆墨古樸，雄雉胸腹間微有異樣，係原畫絹破損，經後人補筆者。&*A cold snow has blown over this scene of a pair of pheasants crouched on a rocky outcropping dotted with dried leaves. The male and female pheasant are sheltered by a few stalks of green bamboo, which also harbor three perched birds. Another bird has suddenly spread its wings and taken flight, adding an element of movement to this otherwise static composition. The bamboo stalks were done in the outlined method and the leaves delineated with "trembling strokes" of varying thickness. The ink and brushwork were applied with naturalness and spirit. Part of the breast of the male pheasant has been repainted, the brushwork being somewhat different from the rest of the bird.&*初雪寒天，雉雞靜踞坡石，上方黑臉噪鶥活動於竹林間，情境自然生動。除部分細枝外，均以雙鉤填彩法畫成，坡石和竹葉的行筆起伏提頓明顯，尤竹葉的顫動線條，接近南唐李後主樛曲、遒勁如寒松霜竹的金錯刀筆法記載，可由此體認其面貌。相較於本院所藏宋人〈梅竹聚禽〉北宋畫院挺勁穩健的風格，雖同樣描繪自然生態，但本幅用筆富於起伏變化，創作時間應較晚，約為南宋或是南北宋過渡期所作。(20110913)&* In an early snow on a winter day is a pair of pheasants crouching quietly on a rocky slope. Above are masked laughing thrushes active amongst the bamboo stalks, making for a lively and animated scene. Except for a few fine branches, all the rest were done using the method of outlines filled with colors. The shape of the brushwork for the slope and bamboo leaves undulates and hesitates dramatically. The bamboo leaves particularly reveal trembling lines similar to the twisting and powerful “golden sword” brush method of Li Houzhu (Yu) of the Southern Tang, which was recorded as comparable to pines in winter and bamboo in frost. This work thus provides an understanding of what Li’s style may have looked like. Compared to another work in the Museum collection, “Plum Tree, Bamboo, and a Gathering of Birds” by an anonymous Song dynasty painter (which reflects the powerful and steady manner of the Northern Song Painting Academy), this work, despite the same natural and animated rendering, has much more undulation and variation in the brushwork. As such, it suggests a later date of production, perhaps in the Southern Song or in the transitional period between the Northern and Southern Song.(20110913)
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- 國立故宮博物院
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