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鏤繪集錦 冊 鶺鴒紅蓼
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者朱克柔,Zhu Kerou
- 裝裱形式冊(摺裝‧方幅式)
- 數量一幅
- 集叢號-件06
- 集叢號-開06
- 集叢號-幅06
- 集叢號-類型單件
- 典藏尺寸本幅@#@29.7x24.8
- 質地本幅@#@絹
- 印記資料作者印記@#@朱克柔印（緙印）@#@@#@收傳印記@#@太監王誅收藏書畫記@#@@#@收傳印記@#@張鏐
- 主題主要主題@#@翎毛@#@鶺鴒@#@@#@主要主題@#@花草@#@紅蓼@#@@#@其他主題@#@水中動植物@#@蝦@#@@#@其他主題@#@水中動植物@#@荇藻@#@@#@其他主題@#@山水@#@溪澗、湍泉
- 技法織
- 參考資料收藏著錄@#@緙絲特展圖錄，頁20-21、94-95@#@@#@收藏著錄@#@緙織風華：宋代緙絲花鳥展圖錄，頁31-34@#@@#@收藏著錄@#@國立故宮博物院緙絲，圖版7@#@@#@參考書目@#@1.童文娥，〈朱克柔緙絲鶺鴒紅蓼〉，收入童文娥主編，《緙絲風華 — 宋代緙絲花鳥展圖錄》（臺北：國立故宮博物院，2007年初版一刷），頁31。 @#@@#@參考書目@#@童文娥，〈鏤繪集錦 冊 鶺鴒紅蓼〉，收入童文娥主編《十指春風—緙繡與繪畫的花鳥世界》（臺北：國立故宮博物院，2015.04），頁116-119。@#@@#@內容簡介（中文）@#@淺褐地設色織。鶺鴒攀立在紅蓼莖上，側著頭俯視著水中的游蝦。此幅織工精細，將各種物象，描寫得十分精確而深刻，生趣盎然，得宋代冊頁花鳥畫的畫意。幅右下有「朱克柔印」一方，為南宋緙織名家朱克柔之作，此幅織工精巧，以「摻和戧」法的和色方法，將色彩由深到淺的過渡，刻畫靈活，為了掌握更豐富的層次暈染，還加上墨色或其他顏料，如紅蓼枯黃的葉子以紅、藍等色暈染點綴，表現秋天的蕭瑟，畫風寫實，為朱克柔精心之作。@#@@#@內容簡介（中文）@#@朱克柔，女，名強。江蘇松江縣人。南宋高宗時（西元一一二七–一一六二年在位）以女紅著名於世。淺褐色地設色織。一隻鶺鴒攀立在紅蓼莖上，回首俯視水中游蝦。鶺鴒屏息專注的神情與茫然不知危險的魚蝦形成有趣的對比，而紅蓼莖桿似乎也微微地震動著，將瞬間發生的情景緙織的維妙維肖。緙織精密，作風沈靜寫實，有宋代花鳥冊頁畫意。本幅為「鏤繪集錦冊」第六幅。@#@@#@內容簡介（英文）@#@Chu K’o-jou, also named Ch’iang, was a native of Sungkiang in Kiangsu. She was a famous weaver during the reign of Emperor Kao-tsung (r. 1127-1162). Colored threads were woven here against a light brown background. A wagtail is perched on a stalk of polygonum and looks down at a crayfish in the water below. The bird in utter concentration appears in contrast with the crayfish moving leisurely below. Even the stalk of polygonum looks like it moves ever so slightly with the tension of the bird, revealing its imminent action. The weaving is fine and the style is elegant and realistic, much in the manner of Sung album leaf paintings of birds and flowers. This tapestry is the 6th leaf from the album “Gems of Weaving”.@#@@#@內容簡介（英文）@#@In this scene woven in colors against a light ochre background is a wagtail perched on the stem of a polygonum plant as it looks down at shrimp in the water. The weaving here is meticulous as the various motifs have been rendered with precision and depth, creating a scene full of life that achieves the artistic effect of bird-and-flower album leaf painting in the Sung dynasty. To the lower right is a seal that reads, “Seal of Chu K’o-jou,” referring to the famous Southern Sung weaver Chu K’o-jou (fl. 1127-1162). The technique in this work is skillful as the method of harmonizing colors known as “join propping” has been employed to make the colors range from dark to light. Likewise, the portrayal is agile, indicating how the artist grasped the rich layers of wash layers. The addition of ink and other colors, such as red and blue washes that embellish the yellowing leaves of the polygonum, express the chilly approach of autumn. The realistic style here makes this a fine work in Chu K’o-jou’s name. This is the sixth leaf in the album “Collected Brocade of Carved Paintings.”
- 地圖
引用資訊
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