名繪集珍 冊 宋黃居寀竹石錦鳩
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- 資料識別：
- 故畫001289N000000008
- 資料類型：
- 繪畫
- 著作者：
- 黃居寀
- 主題與關鍵字：
- 斑鳩
- 溪澗、湍泉
- 竹
- 江河、湖海
- 蘆葦
- 格式：
- 本幅 23.6x45.7公分
- 全幅 43.5x121.7公分
- 關聯：
- 石渠寶笈三編（延春閣），第五冊，頁2490
- 故宮書畫錄（卷六），第四冊，頁180
- 竹樹巨石之側，流出一灣溪水。十隻斑鳩或飛翔、或理翎、或飲泉、或棲息，俱生動傳神。從畫坡土、石頭之表現法及風格來看，與屬李唐（西元1049─1130年後）風格之「萬木奇峰」頗為近似。但本幅在水墨皴筆之運用上較為巧熟，而且石塊組合的水墨陰陽濃淡對比，也比較強烈。由此推斷，本幅可能畫於十二世紀後半葉。本幅選自「名繪集珍」冊第八幅，舊傳為黃居寀（933─993以後）之作。黃氏，四川成都人，字伯鸞。花鳥畫名家黃筌之季子，能傳家學。
- Next to some bamboo, a tree, and a large rock, the bend in a stream is seen emerging. Ten doves appear in this lively scene; some are perched in the tree branches while others are flying or drinking from the stream. Judging from the style, especially the method of depicting the earthen bank and stones , this work is similar to “Myriad Trees and strange Peaks “by Li T'ang (ca. 1049-after 1130). However ,the use of texture strokes is more mature in this work, and the contrasts of light and dark area arranged among the rock surfaces (in terms of voids versus solids and heavy versus light washes of ink) is also stronger here. Thus , this painting may date from the latter half of the twelfth century.This is the eighth leaf from the album Ming-hui Chi-chen, and the old label gives Huang Chü-ts'ai as the painter. Huang chü-ts'ai(style name Po-luan) was a native of Cheng-tu, Szechwan, who was the son of the famous bird and flower painted Huang Ch'üan and his follower.
- 本幅為「名繪集珍」冊第八幅，舊傳為黃居寀（西元九三三—九九三年以後）之作。竹樹巨石之側，流出一灣溪水。十隻斑鳩或飛翔、或理翎、或飲食、或棲息，俱生動傳神。從畫坡石之表現法及風格來看，與屬李唐（約一○四九—一一三○以後）風格之「奇峰萬木」頗為近似。但在水墨皴筆之運用上較為巧熟，且石塊組合的水墨陰陽濃淡對比，也比較強烈。由此推斷，本幅可能畫於十二世紀後半葉。
- This is the 8th leaf from the album Collected Gems of Famous Paintings. The old label identifies the painter as Huang Chü-ts'ai. Some bamboo appear next to the bend of a stream. Ten doves are shown in a variety of poses, including flight, preening, drinking, or at perch. From the description of the slope and the style, this painting appears related to Strange Peaks and Myriad Trees by Li T'ang (ca.1049-after 1130). The use of monochrome texture strokes, however, is more mature, and the arrangement of contrasts in light and dark ink for the volume of the rocks is also stronger. For these reasons, this album leaf might have been painted in the second half of the 12th century during the Southern Sung.
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- 國立故宮博物院
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
