明呂紀秋鷺芙蓉圖 軸
推薦分享
資源連結
連結到原始資料 (您即將開啟新視窗離開本站)後設資料
- 資料識別：
- 故畫000888N000000000
- 資料類型：
- 繪畫
- 著作者：
- 呂紀
- 主題與關鍵字：
- 秋景 蓮荷 芙蓉 鷺鷥 山雀 鶺鴒 慈姑 楊柳
- 日期：
- TIME STAMP:14-5月 -07
- 格式：
- 本幅 192.6x111.9公分&全幅 115公分
- 關聯：
- 石渠寶笈初編（重華宮），下冊，頁803&故宮書畫錄（卷五），第三冊，頁332&故宮書畫圖錄，第七冊，頁175-176& 呂紀（活動於西元一四三九－一五○五年間），浙江鄞縣（今寧波）人。字廷振，號樂愚，一作樂漁。弘治（一四八八－一五○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。 本幅為呂紀典型之代表作。白鷺、鶺鴒、芙蓉、柳與荷，是經常出現於其繪畫中的題材；畫大型禽鳥白鷺立前坡石上，柳樹之橫跨畫面和枝上的較小型山雀，則是構景上常見的安排。而線條上更見呂氏畫花鳥均勻、流暢卻不至硬挺；畫樹石有起落變化、時不相連貫之用筆。 &Egrets and Hibiscus in Autumn Lü 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 the 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. On the banks of a lily pond, a willow sways, and hibiscus and rushes also dance in the light breeze. Near the willow branches two egrets soar calling out while a third standing by the pond answers back. The composition is very lifelike, and the interaction among egrets seems most credible. & 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，為錦衣衛指揮使。 荷池畔，柳樹迎風，芙蓉、殘荷也隨著輕舞，柳梢有兩隻白鷺，乘風飛翔而來，池邊的白鷺，回首鳴叫，相與呼應，構成生動且富有動態美的畫面。 &Egrets and Hibiscus in Autumn Lü 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. This painting represents a typical work by Lü Chi; egrets, wagtails, hibiscus, a willow tree, and lotuses are elements which often appear in his paintings. This kind of arrangement consisting of a large-scale egret standing on a rocky bank, willow tree branches spreading across the painting, and small titmice perched on branches is a common compositional scheme. In terms of technique, the smooth, fluid brushstrokes devoid of any stiffness for the birds and flowers as well as the varied brushwork in the trees and rocks where a brushline is sometimes intentionally interrupted and then continued are all characteristics of Lü Chi.
- 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
