民國徐悲鴻蘆雀　軸

繪畫

基本資料典藏尺寸質地題跋資料印記資料主題技法參考資料保存維護

文物統一編號	購畫000043N000000000
作品號	購畫00004300000
品名	民國徐悲鴻蘆雀　軸
分類	繪畫
作者	徐悲鴻
創作時間	中華民國二十四年（1935）
數量	一軸

位置	尺寸(公分)
本幅	110.3x36.2
全幅	49.5

質地位置	質地
本幅	紙本

題跋類別

作者

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款識

書體

全文

題跋

徐悲鴻印記 expand_more

本幅

福州人謂雀曰剪嫣。一雀曰夙勞。剪嫣夙夙起。音應讀作英文TH。亦中國各處所無。乙亥（西元一九三五年）大寒。悲鴻遣悶。

行書

印主	印記
徐悲鴻	悲鴻

簽

包首

悲鴻蘆雀。

印記類別	印主	印記
收傳印記		神奇朽腐
收傳印記	熊式一	逸齋寶藏
收傳印記	熊式一	熊式一鑑定

主題類別	主題(第一層)	主題(第二層)	主題說明
主要主題	翎毛	麻雀
主要主題	樹木	竹

技法	技法細目
沒骨

類別	參考資料
內容簡介	徐悲鴻（西元一八九五－一九五三年），江蘇宜興人。原名壽康，十九歲父逝，遂更名悲鴻。父遠章乃一民間畫師，徐氏幼承家學，年十餘即外出鬻畫，稍長更遊學海外，先後赴日、法、德等國，精研寫實主義繪畫。返國後，揭櫫國畫改良論，提倡中西合璧式的創新理念。影響近代中國藝壇及美術教育，至為深遠。本幅畫芒草叢生，群雀飛舞，用筆縱恣而布局雄奇，兼融金石派之強健氣息與嶺南派的破墨技法，略別於徐氏習見之寫實風格。
Description	Hsu Pei-hung was a native of I-hsing, Kiangsu. Originally named Shou-K’ang, he took the name Pei-hung at the age of 18 after his father died. His father, Hsu Yuan-chang, was a folk painter who taught Hsu Pei-hung as a youth. Hsu Pei-hung had to sell paintings as a teenager for his livelihood. A little older, he traveled and studied abroad in such countries as Japan, France, and Germany in his dedicated pursuit of realism in painting. After he returned to China, he announced his theories for the positive reform of native painting styles, advocating the creative notion of combining Western and Chinese styles. He has had a profound influence on modern Chinese painting and art education. In this painting is a growth of reeds with a flock of birds flitting about. The brushwork is unrestrained and the composition bold; they reflect the fusing of the imposing aura of the Stone and Bronze inscription style with the “broken ink” techniques of the Ling-nan School, and thus differing somewhat from Hsu’s often seen realistic style.

類別

參考資料

內容簡介

　　徐悲鴻（西元一八九五－一九五三年），江蘇宜興人。原名壽康，十九歲父逝，遂更名悲鴻。父遠章乃一民間畫師，徐氏幼承家學，年十餘即外出鬻畫，稍長更遊學海外，先後赴日、法、德等國，精研寫實主義繪畫。返國後，揭櫫國畫改良論，提倡中西合璧式的創新理念。影響近代中國藝壇及美術教育，至為深遠。本幅畫芒草叢生，群雀飛舞，用筆縱恣而布局雄奇，兼融金石派之強健氣息與嶺南派的破墨技法，略別於徐氏習見之寫實風格。

Description

Hsu Pei-hung was a native of I-hsing, Kiangsu. Originally named Shou-K’ang, he took the name Pei-hung at the age of 18 after his father died. His father, Hsu Yuan-chang, was a folk painter who taught Hsu Pei-hung as a youth. Hsu Pei-hung had to sell paintings as a teenager for his livelihood. A little older, he traveled and studied abroad in such countries as Japan, France, and Germany in his dedicated pursuit of realism in painting. After he returned to China, he announced his theories for the positive reform of native painting styles, advocating the creative notion of combining Western and Chinese styles. He has had a profound influence on modern Chinese painting and art education. In this painting is a growth of reeds with a flock of birds flitting about. The brushwork is unrestrained and the composition bold; they reflect the fusing of the imposing aura of the Stone and Bronze inscription style with the “broken ink” techniques of the Ling-nan School, and thus differing somewhat from Hsu’s often seen realistic style.

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