文物統一編號 |
故畫001289N000000010
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作品號 |
故畫00128900010 |
品名 |
名繪集珍 冊 宋李安忠野菊秋鶉
Wild Chrysanthemums and Autumn Quail |
分類 |
繪畫 |
作者 |
李安忠 |
數量 |
一幅 |
題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
題籤 |
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李安忠野菊秋鶉 |
印記類別 |
印主 |
印記 |
收傳印記 |
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忠孝傳家 |
收傳印記 |
張孝思 |
張則之 |
收傳印記 |
梁清標 |
棠邨審定 |
收傳印記 |
梁清標 |
蕉林玉立氏圖書 |
主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
主要主題 |
翎毛 |
鵪鶉 |
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其他主題 |
花草 |
車前草 |
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其他主題 |
花草 |
荊枝 |
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其他主題 |
花草 |
菊 |
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其他主題 |
樹木 |
竹 |
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類別 |
參考資料 |
內容簡介 |
設色畫鵪鶉兩隻,在土坡上,背景作野菊荊棘。畫原無名款,清代收藏家梁清標(西元1620─1691年)定為南北宋間畫家李安忠作品。細審野菊點葉及鉤竹筆墨,已近於宋代馬遠、馬麟父子(12─13世紀)之風。 李安忠(活動於12世紀上半葉),曾經職於北宋徽宗宣和(1119─1125)畫院,南宋高宗紹興(1131─1162)間復職,賜金帶。工畫花鳥走獸,尤工勒。本幅選自「名繪集珍」冊第十幅。
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內容簡介 |
象徵秋的野菊和紅葉,配以白體的鵪鶉兩隻,顯現明媚秋光。成雙的景物,總有祝福之意。羽色主要的白色,為宋代祥瑞的象徵。
清代收藏家梁清標(1620─1691)雖定為李安忠之作,然刻意抖動的筆意,與其「竹鳩」不類。反點葉、鉤竹與荊棘之筆,相似於馬麟「暮雪寒禽」筆韻。又借著蘆葦梢劃破留白處,將觀賞視線再連結到鵪鶉上,已具南宋主觀營構畫面觀點,創作時間或近於馬麟之時。(20101015)
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Description |
Wild chrysanthemums and red leaves signify the arrival of autumn. Combined with the presence here of two white quails, the radiant beauty of a bright autumn day shines forth even more brilliantly. The depiction of certain motifs in pairs traditionally conveys a message of blessing, and the whiteness of the feathers here also symbolized auspiciousness in the Song dynasty.
Although the Qing dynasty collector Liang Qingbiao (1620-1691) attributed this work to Li Anzhong, the intentionally quivering brush manner differs from his “Bamboo and Shrike” in this exhibit. The brushwork for the dotted leaves, outlined bamboo, and brambles are instead similar to the manner of Ma Lin’s “Late Snow and Wintry Birds.” The artist also used a branch here to define the area left blank, leading the viewer’s eye out to where the quail is looking. This already reveals the later Southern Song viewpoint of creating a subjective arrangement, so the time of production here is perhaps closer to that of Ma Lin.(20101015)
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Description |
This painting depicting depicts a pair of quails as they pause for a moment on a sloping bank overgrown with brambles and wild chrysanthemums. This album is unsigned, but was attributed to Li An-chung by the Ch’ing dynasty collector Liang Ch’ing-piao (1620-1691). However, the finely drawn chrysanthemums, the shaping of the leaves, and the modeling strokes outlining the bamboo leaves suggest the style of the Sung painter Ma Yuan (fl. 1190-after 1224) or his son Ma Lin (fl.1195-1164). This is the tenth leaf from the album Ming-hui chi-chen. Li An-chung served in the shao-hsing era (1131-1162), he again entered the Academy and was awarded the Golden Belt. Li was noted for his renditions of birds, flowers, and animals. He was especially noted for his skill in the outline method of painting.
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收藏著錄 |
石渠寶笈三編(延春閣),第五冊,頁2490
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收藏著錄 |
故宮書畫錄(卷六),第四冊,頁180
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參考書目 |
1.葛婉章,〈李安忠野菊秋鶉〉,收入國立故宮博物院編,《宋代書畫冊頁名品特展》(臺北:國立故宮博物院,1995年初版一刷),頁294-295。
2.譚怡令,〈宋李安忠野菊秋鶉〉,收入譚怡令編,《畫?珍禽》(臺北:國立故宮博物院,1988年十月初版),頁82-83。
3.葛婉章,〈「七十件書畫冊頁名品特展」精選(六) — 李安忠野菊秋鶉〉,《故宮文物月刊》,第152期(1995年11月),頁76-77。
4.譚怡令,〈野菊秋鶉〉,收入何傳馨主編,《文藝紹興:南宋藝術與文化‧書畫卷》(臺北:國立故宮博物院,2010年十月初版一刷),頁370-371。
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收藏著錄 |
故宮書畫圖錄,第二十九冊,頁152-159
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參考書目 |
何傳馨,〈名繪集珍 冊 宋李安忠野菊秋鶉〉,收入《文藝紹興-南宋藝術與文化‧書畫卷》(臺北:國立故宮博物院,2010.10),頁235、370-371。
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