跳到主要內容區塊
:::
明殷宏花鳥 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者殷宏,Yin Hong
- 色彩設色
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@169.1x102.9@#@@#@全幅@#@301.4x105.2
- 質地本幅@#@絹
- 題跋資料作者款識@#@殷宏@#@殷宏@#@楷書
- 印記資料收傳印記@#@張爰之印@#@@#@收傳印記@#@大千居士@#@@#@收傳印記@#@漫漶不識（三方）
- 主題主要主題@#@翎毛@#@雉（錦雞．雉類）@#@@#@次要主題@#@果蔬@#@蘋婆．林檎@#@@#@次要主題@#@翎毛@#@秧雞@#@@#@其他主題@#@翎毛@#@八哥（鴝鵒）@#@九冠鳥@#@@#@其他主題@#@翎毛@#@臘嘴@#@@#@其他主題@#@翎毛@#@山雀@#@@#@其他主題@#@花草@#@紅蓼@#@@#@其他主題@#@花草@#@萱花@#@@#@其他主題@#@山水@#@奇石@#@@#@其他主題@#@山水@#@江河、湖海@#@@#@其他主題@#@水中動植物@#@荇藻
- 技法雙鉤@#@@#@皴法@#@雨點皴
- 參考資料收藏著錄@#@大風堂遺贈名跡特展圖錄，頁57.91@#@@#@參考書目@#@1.譚怡令，〈明殷宏花鳥〉，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108-109。 @#@@#@內容簡介（中文）@#@ 本幅近景巨石上立雙雉，上方蘋婆樹橫出，綴以小型鳥類，遠處坡岸為中景，構圖顯受明中葉花鳥畫家呂紀影響，另皴染和輪廓線等筆法與用色亦然。惟更具裝飾性，加上禽鳥如雉、九官、紅冠水雞等均成雙，應有吉祥寓意。通幅的平面感，是殷宏特色，但筆墨稍弱，可能為一忠實的仿作。 殷宏，生卒年不詳，約活動於明孝宗弘治（1488-1505）末期。善翎毛，風格介於邊文進、呂紀之間。 大風堂捐贈於民國72年。 (20120106)@#@@#@內容簡介（中文）@#@殷宏，生卒年不詳，可能活動於弘治（西元一四八八－一五○五年）末期，善畫翎毛。溪畔巨石上立雉鳥兩隻，老樹蘋婆果實纍纍，自山岩斜出，山鳥成對上下棲息，雁鴨雙雙戲於水中。萱花、紅蓼分別生長於巨石四周。觀其畫風有受呂紀、邊文進影響，但此幅構圖平板，筆墨色設少變化，禽鳥神韻亦不足。是圖似較所見殷宏作品稍弱或為一忠實之仿作。 本幅為大風堂捐贈。 @#@@#@內容簡介（中文）@#@本幅標名為殷宏之作，由大風堂捐贈。幅中之構圖顯有呂紀之影響，然更具裝飾性。輪廓線條有邊氏之意；至於皴紋處理中，皴樹幹之戳筆源自呂紀，而坡石所呈現出之平面感，則為其本身特色。但通幅之筆墨較殷宏向見之作為弱，故可能為一忠實之仿作。 殷宏，生卒年不詳，可能活動於弘治（西元一四八八－一五○五年）末期。善畫翎毛，在呂紀、邊文進之間。 @#@@#@內容簡介（英文）@#@This painting, a gift from the Ta-feng-t’ang, the studio of Chang Dai-ch’ien, is attributed to Yin Hung. The composition shows Lu Chi’s influence but is more decorative. The handling of the contour lines reflects the artist’s knowledge of Pien Wen-chin’s style, and the texture strokes used for the tree branches are very much like the quick, dabbing method which Lu Chi employed. The flatness of the rocks, though, is a characteristic belonging to Yin Hung himself. The brushwork of Birds and Flowers, however, is much weaker than works generally accepted as by Yin Hung, so this is perhaps a close copy and not an original. There are very few details known about the biography of Yin Hung, but it is generally believed that he was active during the end of the Hung-chih period (1488-1505). He excelled in bird-and-flower painting and studied the styles of Lu Chi and Pien Wen-chin. @#@@#@內容簡介（英文）@#@Little is known about Yin Hung, but he is thought to have been active at the end of the Hung-chih era (1488-1505). Excelling at birds-and-flowers, he studied the styles of Lu Chi and Pien Wen-chin. In this work, two pheasants stand on a large rock by a stream. A tree bearing many fruit (sterculia lanceolata) grows overhead. Pairs of birds appear in the tree as two ducks swim in the water. Day lilies and smartweed are by the rock. The style here was influenced by that of Pien Wen-chin, but the composition is slightly stiffer, the brushwork flatter, and the birds less spirited. Thus, it may have been done after an original by Yin Hung. This work is a gift to the Museum from the Ta-feng-t’ang, the studio of Chang Dai-chien. @#@@#@內容簡介（英文）@#@ On a rocky area in the foreground of this painting stands a pair of pheasants. Above a crabapple tree extends forth adorned with smaller birds. A distant shore is also in the middleground, the composition obviously influenced by the middle-Ming bird-and-flower painter Lu Ji, the brushwork in the wash texturing and outlines as well as colors likewise as such. However, it is more decorative, and with the addition of the pheasant, grackle, and red-crested waterfowl all appearing in pairs, it also has auspicious overtones. Overall flatness is a feature of Yin Hong’s works, but here the use of brush and ink is slightly weak, suggesting perhaps a faithful imitation. Yin Hong, birth and death dates unknown, was active around the late Hongzhi reign (1488-1505) of Emperor Xiaozong. He excelled at painting birds, his style lying between that of Bian Wenjin and Lu Ji. This work was donated to the National Palace Museum from the Ta-feng Hall collection of Mr. Chang Dai-chien in 1983. (20120106)
- 地圖
引用資訊
本網站使用Cookies收集資料用於量化統計與分析，以進行服務品質之改善。請點選"接受"，若未做任何選擇，或將本視窗關閉，本站預設選擇拒絕。進一步Cookies資料之處理，請參閱本站之隱私權宣告。