| 文物統一編號 |
故畫000379N000000000
|
| 作品號 |
故畫00037900000 |
| 品名 |
明朱芾蘆洲聚雁圖 軸
Gathering of Wild Geese Among Reeds and Shoals |
| 分類 |
繪畫 |
| 作者 |
朱芾,Zhu Fu |
| 創作時間 |
明太祖洪武七年 (1374) |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
朱芾
印記 expand_more
|
本幅 |
夜牕剪燭聽雨。偶閱叔升錢君所畫古木寒鴉小景。不覺技癢。因寫蘆洲聚雁以配之。適友人黃德謙在座。曰似瀟湘水雲景也。昔年過二妃廟。今復觀此圖。恍若重游。但少苦竹翳深耳。余遂添叢篠于其間。殊有天趣。并賦詩一絕云。夜牕聽雨話巴山。又入瀟湘水竹間。湘浦冥鴻誰得似。碧天飛去又飛還。甲寅（西元一三七四年）春三月修禊日。朱孟辨在西掖記。 |
隸書 |
|
|
|
| 題跋 |
|
本幅 |
|
楷書 |
蘆洲聚鳫圖。 |
| 題跋 |
清高宗
印記 expand_more
|
本幅 |
癸未（西元一七六三年）春日御題。 |
行書 |
雨宿風鳴致各超。叢蘆苦竹恣逍遙。㝠鴻無意工商調。那問氷絃第幾條。癸未（西元一七六三年）春日御題。 |
|
|
| 題籤 |
清高宗
印記 expand_more
|
題籤 |
|
行書 |
朱芾蘆洲聚雁圖。能品。 |
| 印主 |
印記 |
| 清高宗 |
乾隆宸翰 |
| 清高宗 |
稽古右文之璽 |
|
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
|
四明謝氏寶漢樓真賞 |
| 收傳印記 |
成德 |
汝礪 |
| 收傳印記 |
李應禎 |
李應禎印 |
| 收傳印記 |
成德 |
容若鑑藏 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清高宗 |
石渠定鑑 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清內府印 |
宜子孫 |
| 鑑藏寶璽 |
宣統帝 |
宣統御覽之寶 |
| 鑑藏寶璽 |
宣統帝 |
宣統鑑賞 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆鑑賞 |
| 鑑藏寶璽 |
宣統帝 |
無逸齋精鑑璽 |
| 鑑藏寶璽 |
清高宗 |
寧壽宮續入石渠寶笈 |
| 鑑藏寶璽 |
清高宗 |
樂壽堂鑑藏寶 |
| 鑑藏寶璽 |
清高宗 |
寶笈重編 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
翎毛 |
雁 |
|
| 主要主題 |
樹木 |
竹 |
|
| 主要主題 |
樹木 |
楊柳 |
|
| 次要主題 |
山水 |
|
|
| 次要主題 |
山水 |
江河、湖海 |
河 |
| 次要主題 |
花草 |
蘆葦 |
|
| 類別 |
參考資料 |
| 內容簡介 |
朱芾（活動於西元十四世紀後期），江蘇華亭人，字孟辨，號滄洲生，洪武初，以翰林編修改中書舍人。其人才思飄逸，善畫蘆雁，集瀟湘水雲之致，兼善山水及白描人物。工詞章翰墨之學，真、草、隸、篆清潤遒勁，風度不凡。嘗以所書篆瘞之細林山中，題曰篆塚。朱芾為當時名士楊維禎之門生，甚受楊氏器重，曾讚芾能以仁義為脩，為其門之幸。本幅畫蘆洲聚雁，楷書畫題，隸書識其作畫經過，並賦七絕一首寫其心境，筆法多變，結字錯落，甚有奇趣。
|
| 內容簡介 |
朱芾，字孟辨，號滄洲生，江蘇松江人。洪武（西元一三六八－一三九八年）初官至中書舍人，以工詩，善篆隸行草書法名於世。善畫蘆雁，兼寫山水及白描人物。 本幅畫潦水沙洲，枯柳岩石，群雁聚息蘆叢情景，前人評為極得瀟湘煙水之致。又據自題稱，蘆洲聚雁先畫成，竹叢題跋係數年後所添加，是知亦為其自許之作品。
|
| Description |
Geese amid Rushes Chu Fu (fl. 1368-1398) Ming Dynasty Chu Fu had tzu (style name) Meng-pien and hao (sobriquet) Ts’ang-chou-sheng. He came from Sung-kiang in Kiangsu. He served as an Imperial Secretary during early Ming period. An excellent poet, he was also renowned for his calligraphy in the seal, clerical, semi-cursive, and cursive scripts. He was an accomplished painter of geese among reeds, as well of landscapes and of drawn figures. This painting shows an expanse of water extending over sandy banks. A flock of geese may be seen resting amid old willows and high rocks. Previous art-lovers have particularly appreciated his sensitive descriptions of water scenes. According to the artist’s inscription on this painting, when he had finished the original painting of geese and rushes, he added the bamboos and inscriptions many years later, on looking again at the work. This indicates the artist’s own satisfaction with his painting.
|
| Description |
Chu Fu (style name Meng-pien, sobriquet Ts'ang-chou-sheng) was a native of Hua-t'ing, Kiangsu. Early during the Hung-wu period (1368-1398), he held various official positions. He excelled in painting wild geese and reeds, and he was able to capture the misty, cloudy atmosphere of watery regions. He was also adept at painting figures in pai-miao (plain line drawing) and skilled in poetry, belleslettres, and calligraphy. His calligraphy in standard, cursive, clerical, and seal scripts was exquisite, elegant, and unusual. He once took some of his writings in seal script and buried them in a dense grove on a mountain, calling it a tomb of seal script. Chu Fu was a student of Yang Wei-chen who thought very highly of him and praised him saying that he brought honor to his home. On his painting of wild geese, Chu Fu used standard script for the title but clerical script to write about the process of painting this scroll. He also inscribed a poem expressing his emotions. His brushwork is highly varied, and the structure of his characters is a bit disorderly, creating an unususl impression.
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| 參考書目 |
何傳馨，〈明朱芾蘆洲聚雁圖 軸〉，收入《十全乾隆─清高宗的藝術品味》（臺北：國立故宮博物院，2013.10），頁154-155。
|
| 收藏著錄 |
石渠寶笈續編（寧壽宮），第五冊，頁2787
|
| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁273
|
| 收藏著錄 |
故宮書畫圖錄，第六冊，頁27-28
|
| 參考書目 |
1.朱惠良，〈明朱芾蘆洲聚雁圖〉，收入《雲間書派特展圖錄》（臺北：國立故宮博物院，1994年初版），頁138。
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