宋人畫秋塘雙雁 軸
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- 資料識別：
- 故畫003748N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 主題與關鍵字：
- 翠鳥 蘆葦 紅蓼 蓮荷 鵝 秋景
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 170x 167公分、全幅 190.5公分
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁1155&*故宮書畫圖錄，第三冊，頁219-220&*鵝與雁同科，古人有時雁鵝不分而通稱。本幅畫淺灘洲岸上的雙鵝，在微微風意中，一隻仰天引頸而望；一隻蹲伏在紅蓼下理翎。與二隻或掠空飛過；或佇足蓮桿上棲息的翡翠，交相呼應。 本幅在構圖上，將洲岸、水草、殘荷搭配在畫幅兩側，約略呈一個圓弧狀，而畫中主題雙鵝，則分置在畫幅的左右，為這個約略的圓弧所包圍，形成幅面整體圓融的氣氛。雖然北宋後半期，在崇尚淡雅的文人畫風引導下，搭配雙鵝的背景，為蕭瑟衰敗的秋荷，但仍隱喻著蕭瑟苦寒中亦不改其情意的祥瑞之意。畫中羽禽水草皆描畫精準，強調畫面中央空曠平遠的構圖意念，皆可將本幅畫作定為北宋微宗朝畫院之作。通幅畫面由兩幅絹併接而成，或因分合改裝，致使接合處略有損傷。 &*Domesticated and wild varieties of geese were often referred together in ancient China as “rustic” geese. Here, a pair rest on a shoal with polygonum and decaying lotuses of autumn blowing in a light breeze. The goose at the right looks up at a bird in flight as the other preens its feathers behind the polygonum. The two form an engaging pair. The composition takes the form of the reeds, lotuses and islets on either side forming a U-shape which envelopes the focus of the painting (the geese) inside. The balance and harmony of the arrangement is also suggested by the reeds and lotuses on either side arching towards the center. Although pairs of geese or ducks with a background of autumn lotuses became popular in the refined paintings of scholars, the subject still had auspicious overtones suitable for professional artists. The meticulous detail of the plants and feathers as well as the open distance in the center suggests that this is a work from the painting academy under Emperor Hui-tsung in the late Northern Sung (1st quarter of the 12th c.). The seam running down the middle indicates it was made from two panels or that they were remounted together. &*1.林柏亭，〈宋人畫秋塘雙雁〉，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168-169。 2.譚怡令，〈宋人畫秋塘雙雁〉，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86。 3.譚怡令，〈宋人秋塘雙雁〉，《故宮文物月刊》，第300期（2008年3月），頁23。 4.童文娥，〈宋人畫秋塘雙雁〉，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282。 &*畫秋天寧靜的池塘一隅，黃蘆、紅蓼、枯荷與白鵝相映成趣。本幅雖畫雙鵝，然雁、鵝同科，古人更常雁、鵝不分，而通稱為雁，故名為〈秋塘雙雁〉。全作設色醇厚，以墨色點染其間，造型優雅寫實，神情生動逼真，顯現畫家深入觀察自然之寫實功力。 此幅為兩幅絹拼接而成之作品，從其空曠平遠的構景，具荒寒水景之意趣，皆可定為北宋徽宗朝（1102－1126）畫院之作，是現存北宋汀渚水鳥罕見的代表作品。 (20110913)&* This painting depicts the corner of a serene pond in autumn, highlighted by withering reeds, red polygonum, and white geese. Although this work depicts a pair of geese, the domesticated and wild goose belong to the same family. The ancient Chinese furthermore often made no differentiation between the two. Thus, although the original title refers to wild geese, there are actually domesticated ones shown here. The coloring throughout the work is pure and straightforward with washes of ink appearing amongst them. The forms “sketched from life” are excellent and refined, being spirited and animated true to life and thus revealing the painter’s great skill in observing and depicting forms from life. This painting is done on two bolts of silk joined together. Both the expansive and distant scenery with the sense of wintry desolation for the water scenery can be attributed as features of the Painting Academy at the court of Emperor Huizong (1101-1126) in the Northern Song. It would make this a rare work representative of shoal-and-waterfowl painting from the Northern Song period. (20110913)
- 管理權：
- 國立故宮博物院
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- 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
