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明呂紀蘆汀來雁圖 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者呂紀
- 色彩水墨
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@121.9x75.7
- 質地本幅@#@絹
- 題跋資料作者款識@#@呂紀@#@本幅@#@呂紀@#@行書
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@重華宮鑑藏寶@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@樂善堂圖書記@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@收傳印記@#@以善@#@@#@收傳印記@#@（一印不辨）
- 主題主要主題@#@翎毛@#@雁@#@@#@次要主題@#@花草@#@蘆葦
- 技法寫意
- 參考資料收藏著錄@#@石渠寶笈初編（重華宮），下冊，頁803@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁333@#@@#@收藏著錄@#@故宮書畫圖錄，第七冊，頁179-180@#@@#@參考書目@#@1.譚怡令，〈明呂紀蘆汀來雁〉，收入譚怡令編，《呂紀花鳥畫特展》（臺北：國立故宮博物院，1995年初版），頁105-106。 @#@@#@內容簡介（中文）@#@呂紀畫風有工筆設色和水墨寫意二種。本幅畫雁，一飛降，一仰首迎接，四雁結組，頗有呼應。用墨層次，鮮明活潑，於水墨畫中是屬佳作，但以風格論，無呂紀用筆如風蔌蔌之意。本幅款係後加，右下鈐二印，其一「字以善」，是林良字，或出其手，或出其徒，待考。 舊傳為呂紀所作。呂紀（活動於西元一四三九─一五０五年間），浙江鄞縣（今寧波）人。字廷振，號樂愚，一作樂漁。孝宗弘治（一四八八─一五０五）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。@#@@#@內容簡介（中文）@#@ 呂紀畫風有工筆設色及水墨寫意兩種。雁鳥一飛降，一仰首，與棲息二雁頗有呼應，用墨鮮明活潑，於水墨畫中是屬佳作，但以風格論，無呂紀用筆如風蔌蔌之意。本幅款係後加，右下鈐二印，其一「字以善」，是林良字，可能就是林良所畫。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。弘治（一四八八－一五○五）間為宮廷畫家，官至錦衣指揮使。@#@@#@內容簡介（中文）@#@ 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。 秋雁兩雙，飛鳴棲息於葦塘沼泥之中。通幅為墨畫，水墨具足，行筆草草而意態若生。其款雖為呂紀，幅左下卻有「字以善」一印，以善為林良之字號，本幅畫風亦近之。@#@@#@內容簡介（英文）@#@Wild Geese Gathering on an Islet Lu Chi (fl. ca. 1477-1497) Ming Dynasty Lu Chi, style name T’ing-chen, sobriquet Yao-yu, was a native of Yin County, Chekiang. In the genre of flower and bird painting, Lu 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. Lu served as a commander in the Imperial Bodyguard, a military unit that also provided sinecures for court painters. In this scene, two pairs of geese have alighted on the autumnal reeds of a swampy islet to rest. The entire work was painted in monochrome ink with a damp and expressive brush, with which Lu imparted the essence of liveliness. Although the signature reads “Lu Chi,” however, in the lower left corner of the painting there is a seal which reads “Tzu I-shan.” “I-shan” is Lin Liang’s style name, and the style of this painting is also very close to the way Lin Liang paints.@#@@#@內容簡介（英文）@#@Wild Geese Gathering on an Islet Lu Chi (fl. 1439-1505) Ming Dynasty Lu Chi was known for two styles of painting; a fine style with colors and a sketchy type in monochrome ink. In this example of the latter, three wild geese gather by autumnal reeds on a swampy islet as a fourth approaches from above. The one looking up appears to communicate with the one about to land. The rich layers of ink are lively, making this an excellent example of monochrome ink painting. However, in terms of style, it does not reveal the bravura for which Lu Chi was known. The signature in the upper left is a later addition, while one of the seals in the lower left belongs to that of Lin Liang, indicating it may have been painted by him instead. Lu Chi, a native of Chekiang, served as a court painter in the Hung-chih era (1488-1505).@#@@#@內容簡介（英文）@#@Wild Geese Gathering on an Islet Lu Chi (act. ca. 1439-1505) Ming Dynasty In this scene, the artist has conveyed a sense of interaction: one goose descends as another raises its head welcoming its companion. Though this is an excellent painting in monochrome ink which was used in a lively manner, the brushwork shows none of the free and sometimes unconnected movement characteristic of Lu Chi’s style. The signature was added at a later date, and one of the two seals in the lower left corner reads “Tzu I-shan,” the style name of Lin Liang. Attribution will thus have to await furthur research. Lu Chi (style name T’ing-chen, sobriquet Yao-yu) 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. He combined detailed, meticulous brushwork (kung-pi) with expressive “sketching of ideas” (hsieh-i) and achieved wonderful results.
- 地圖
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