收藏著錄@#@林宗毅先生捐贈書畫目錄,頁73、128-129@#@@#@參考書目@#@1.劉芳如,〈清倪田花鳥圖〉,收入劉芳如主編,《十九世紀末期中西畫風的感通之二--國立故宮博物院所藏同時期名家作品展》(臺北:國立故宮博物院,1993年初版),頁122。
@#@@#@內容簡介(中文)@#@倪田(西元一八五五-一九一九年),江蘇揚州人,僑居上海。初名寶田,字墨耕,號默道人,璧月盦主。初學畫於王小梅(素),人物、仕女及古佛像取境高逸,尤善畫馬及走獸.。光緒中行商到滬,愛任頤畫,遂棄其業而參用任法。水墨巨石,設色花卉,腴潤遒勁,擅勝於時,兼工山水,並不多見。寓滬鬻畫垂三十年。卒年六十五。
梧桐朱竹、白鳳棲枝。通幅未加起稿,鉤畫渲暈,信手揮灑而成,用筆勁健爽朗。
本幅為林宗毅先生捐贈。
@#@@#@內容簡介(英文)@#@White Phoenix
Ni T’ien (1855-1929)
Ch’ing Dynasty
Ni T’ien (given name Pao-t’ien; style name Mo-keng; sobriquet Pi-yueh-an-chu) was a native of Yangchow, Kiangsu. He was originally a student of Wang Su (1794-1877), and his paintings of humans, ladies, and ancient Buddhist figures were lofty in sentiment. He was particularly adept at depicting horses and beasts. During the Kuang-hsu reign (1864-1906) he travelled to Shanghai, where he fell in love with Jen Yi’s (1840-1896) paintings. He subsequently became his pupil. Ni’s large monochrome stones and polychrome flowers and plants were radiant and forceful, and he was well-known during his lifetime. Few of his fine landscapes are still extant. Ni lived and sold paintings in Shanghai for thirty years. He died when he was sixty-five.
A white phoenix perched on a branch of a firmiana tree beside vermilion bamboo. The painting was done without a prepared draft. The outlines and colors were added effortlessly and freely, still producing rigid and refreshing brushwork.
This painting was donated to the Museum by Mr. Lin Tsung-yi.