石渠寶笈初編(養心殿),上冊,頁669 &*故宮書畫錄(卷五),第三冊,頁155 &*故宮書畫圖錄,第三冊,頁145&*1.〈宋作者佚名秋荷野鳧〉,收入國立故宮博物院編輯委員會編,《名寶上珍》(臺北:國立故宮博物院,1995年初版一刷),頁236。 2.譚怡令,〈宋人秋荷野鳧圖〉,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84-85。 &*水邊一石突起,野雁昂首蹣跚而下,其神真摯。石上紅蓼,踐於足下,背作殘荷敗葉與蓮蓬,秋意甚濃。雁以雙鈎為之,多用墨染,略加赭石與花青;其餘亦多雙鈎填彩,畫草近似沒骨,皆極精謹而生動。&*Stretching its neck forward, a wild goose ambles out to a rocky promontory overlooking the water. The artist captured the bird's character in brush and ink and imbued the painting with the heavy scent of autumn. The goose tramples a fallen stalk of smartweed and stands silhouetted against a backdrop of decayed lotus leaves and pods. The goose's from was outlined in ink and filled in with heavy washes touched with umber and indigo. The other elements in the painting were similarly rendered, but the plants were so lightly traced in ink that they seem to have been painted with the "boneless" method. The ink work is particularly fine and vivacious.&*一隻野雁蹣跚走向水邊凸起的平石上,凝視著遠方,不知是在尋找什麼,還是在等待什麼,牠的神情真摯,頗為動人。而雁足踏著紅蓼花,背後襯托殘荷敗葉和蓮篷,有著濃濃的秋意,更顯現出了孤雁那份蕭瑟的意味。畫雁用雙鉤填彩的方式,色澤以墨色為主,略加赭石和花青;其餘景物也多用此方式,僅畫草則較近於沒骨法,不但筆筆精謹,且情韻生動,雖畫面因年代久遠而有些沈暗,卻仍不減其所展現出的宋代繪畫韻味。&*一隻野雁蹣跚走向水邊凸起的平石上,凝視著遠方,不知是在尋找什麼,還是在等待什麼,牠的神情真摯,頗為動人。而雁足踏著紅蓼花,背後襯托殘荷敗葉和蓮篷,有著濃濃的秋意,更顯現出了孤雁那份蕭瑟的意味。畫雁用雙鉤填彩的方式,色澤以墨色為主,略加赭石和花青;其餘景物也多用此方式,僅畫草則較近於沒骨法,不但筆筆精謹,且情韻生動,雖畫面因年代久遠而有些沈暗,卻仍不減其所展現出的宋代繪畫韻味。(譚怡令)