收藏著錄@#@石渠寶笈三編(鳳麟洲),第八冊,頁4002-4005@#@@#@收藏著錄@#@故宮書畫錄(卷六),第四冊,頁209-210@#@@#@收藏著錄@#@故宮書畫圖錄,第二十八冊,頁226-233@#@@#@參考書目@#@許文美,〈宋元名繪 冊 宋惠崇寒林鴛鳥圖〉,收入許文美主編《無聲詩-南宋的小品繪畫》(臺北:國立故宮博物院,2021.12),頁34-37、168。@#@@#@參考書目@#@1.譚怡令,〈宋惠崇寒林鴛鴦圖〉,收入譚怡令編,《畫裡珍禽》(臺北:國立故宮博物院,1988年十月初版),頁80-81。
@#@@#@內容簡介(中文)@#@老梅白花點點,竹葉坡石餘有殘雪。畫家雖以雪景為題,卻不似表現嚴寒冷酷的一面。鴛鴦怡然自適,倘徉於樹下,毫無瑟縮之態;另有一對黃尾鴝,安祥棲息枝上。以梅開早春之習性而言,本幅或寓有歲朝祥瑞之意。
畫無名款,舊題惠崇之作。惠崇,福建建陽人。約活動於11世紀前半葉,為當時名僧。擅畫鵝鷹,尤工小景,善為寒汀遠渚,瀟灑虛曠之象。
本幅為「宋元名繪」冊第十四開。@#@@#@內容簡介(英文)@#@A pair of redstarts have alighted on an old plum tree. Its limbs are dotted with blossoms, although traces of snow still cling to the bamboo leaves and the rocky bank below. In this snow scene, the artist has not chosen to depict winter at its coldest. The mandarin ducks pause beneath the plum tree, seeming not the least perturbed by the weather. Since plum trees usually blossom in the early spring, which coincides with the beginning of the Chinese lunar cycle, the painting may be a symbolic wish for an auspicious new year.
This album leaf bears no seals or signature, but it old label attributes it to the monk Hui-ch'ung, who was a native of Chien-yang, Fukien. Noted for his renditions of waterfowl and birds of prey, he was especially famous for his small scenes. His favorite subjects included scenes of cold rivers and distant islets.