明邊文進胎仙圖 卷
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001559N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 邊文進（Bian Wenjin）
- 主題與關鍵字：
- 桂花 松 芭蕉 鶴 梧桐 茶花 瀑布 芙蓉 雲 菊 楊柳 藤蘿 桃花 蜀葵 竹 蘆葦 溪澗、湍泉 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 30.1x817公分、隔水一 14.5公分、引首 29.1x70.5公分、隔水二 7.7公分、裱紙 14公分、隔水三 7.5公分、隔水四 14.9公分、隔水五 14.2公分
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁1021-1022&*故宮書畫錄（卷八），第四冊，頁40&*故宮書畫圖錄，第十八冊，頁99-104&* 邊文進，生卒年不詳，福建沙縣人。字景昭，永樂（西元一四０三－一四二四年）間召至京師，授武英殿待詔，宣德（西元一四二六－一四三五年）間仍供事內殿。博學能詩，善畫花果翎毛，為其後呂紀等人師法的匠師。 畫鶴一百三十六隻，舉凡飛者、鳴者、啄者、鬥者、泳者、無一種不具，亦無一種不佳。他如雲水松蕉樹石諸物，並皆應物象形，筆意雅健，自非斲輪老手莫能辦。惟筆墨與邊景昭不類。款字與項元汴印，皆後人所增。 &* Pien Wen-chin, style name Ching-chao, was a native of Sha county, Fukien. Although the dates of his birth and death are unknown, it is known that he was summoned to the capital during the Yung-lo era (1403-1424), where he served as Painter-in-Attendance at the Wu-ying Hall. During the reign of the Hsüan-te emperor (r. 1426-1435), he performed various duties in the Inner Court. A talented poet of wide learning, he also excelled at painting flowers, fruits, and birds. He was the master painter whose style was emulated by Lü Chi and other later artists. This handscroll depicts 136 white cranes, some flying, some calling, some preening, some swimming, and some fighting. All are beautifully painted. The landscape details are also carefully executed. While the elegant, vigorous brushwork presupposes many years of experience, the use of brush and ink does not resemble Pien Wen-chin’s style. The signature and seals of the Ch’ing dynasty collector Hsiang Yüan-pien (1525-1590) are later additions. &*邊文進，生卒年不詳，福建沙縣人。字景昭，永樂（西元一四０三－一四二四年）間召至京師，授武英殿待詔，宣德（西元一四二六－一四三五年）間仍供事內殿。博學能詩，善畫花果翎毛，為其後花鳥名家師法。畫鶴一百三十六隻，舉凡飛者、鳴者、啄者、鬥者、泳者等等。他如雲水松蕉樹石諸物，並皆應物象形，筆意雅健，自非斲輪老手莫能辦。惟筆墨與邊景昭不類。款字與項元汴印，皆後人所增。(20120407)&* Bian Wenjin, native to Shaxian in Fujian, had the style name Jingzhao. Called to the capital under Yongle (1403-1424), he was a Painter-in-Attendance at Wuying Palace. In the Xuande reign (1426-1435), he still served at court. Widely studied and a fine poet, he excelled at painting flowers and fruits as well as birds, his style emulated by later bird-and-flower masters. This handscroll depicts 136 cranes, some flying as others call, preen, swim, and fight. All motifs, such as clouds, water, pines, banana trees, and rocks, follow their respective forms. Though the elegant yet vigorous brushwork reveals years of experience, the styles does not resemble Bian’s style. The seals and signature of the Ming collector Xiang Yuanbian are also later additions.(20120407)
- 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
