文物統一編號 |
故畫001240N000000003
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作品號 |
故畫00124000003 |
品名 |
藝苑藏真(上) 冊 五代黃筌蘋婆山鳥
Apples and Wild Bird |
分類 |
繪畫 |
作者 |
黃筌 |
數量 |
一幅 |
位置 |
尺寸(公分) |
本幅 |
24.9x25.4 |
對幅 |
24.9x25.4 |
全幅 |
38.5x80 |
題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
題籤 |
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楷書 |
黃筌蘋婆山鳥 |
題跋 |
清高宗
印記 expand_more
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對幅 |
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行書 |
大顆蘋婆遇秋熟。山禽背立恨難銜。道元畫可闢拇指。卓識應知有不凡。 |
印主 |
印記 |
清高宗 |
八徵耄念之寶 |
清高宗 |
自彊不息 |
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印記類別 |
印主 |
印記 |
收傳印記 |
沐璘 |
黔寧府書畫印 |
鑑藏寶璽 |
清高宗 |
八徵耄念之寶 |
鑑藏寶璽 |
清高宗 |
五福五代堂寶 |
鑑藏寶璽 |
清高宗 |
太上皇帝之寶 |
鑑藏寶璽 |
宣統帝 |
宣統御覽之寶 |
主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
主要主題 |
果蔬 |
蘋婆.林檎 |
蘋婆。枝。葉。實 |
次要主題 |
翎毛 |
粉紅鸚嘴 |
粉紅鸚嘴一隻 |
類別 |
參考資料 |
內容簡介 |
粉紅鸚嘴飛上枝頭,輕盈活潑的神情及紅熟的蘋果,營造出畫面完滿豐富的生意。畫葉翻轉生動自然,畫家用赭墨點染黃,圈出果葉上枯蝕小洞。舊傳為黃筌(約西元九0三-九六五年)所作,然依畫風而論,則較近於南宋院體畫。此圖與北京故宮所藏宋林椿(活動於西元一一七四-一一八九年)「果熟來禽」構圖雷同,反映出宋代冊頁「一式多本」的現象。
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內容簡介 |
本圖原為團扇,依籤題舊傳為五代黃筌(約903-965)所作,但與北京故宮所藏宋林椿(?~1174-1189-?)〈果熟來禽〉十分相近。此作鍾情於緩暢優雅的線條,諸如鳥身的輪廓線、枝幹與葉片的弧度,彼此相互應和、自成節奏;敷色亦大膽簡鍊,用赭墨染黃圈出眾多的深色蛀孔,點綴得畫面與顏色更豐富熱鬧;畫中的鸚嘴微側著頭,似為可於林間輕盈跳躍的慧黠小鳥。本圖應可視為林椿活躍的南宋中期之作。(20101015)
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Description |
This work was originally a rounded fan and, according to the title slip at the right, done by the Five Dynasties painter Huang Quan. It is, however, very similar instead to a painting by Lin Chun (fl. 1174-1189) entitled “Ripe Fruit Attracting Insects” in the Beijing Palace Museum collection.
Particularly appealing about this work are the graceful and flowing lines. The colors are also daring yet succinct, in which ochre and ink along with washes of yellow depict the numerous dark circles of insect holes, embellishing the surface and making the colors even richer and livelier. The parrotbill with its slightly upturned head seems to perfectly convey its nature as a sprightly little bird hopping about the branches. This can be considered a work by Lin Chun while active in the middle Southern Song period.(20101015)
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Description |
A bird with a pink beak sits on the branch of an apple tree. Its verve and lightness contrast with the ripe and heavy apples, both complementing and heightening the sense of life here. Leaves curl and twist naturally as the artist used ochre and ink dots along with washes of yellow to show where the leaves have been eaten and have aged. This work is traditionally attributed to Huang Ch'uan, but the style appears closer to the Southern Sung court manner. In fact, the composition is very close to that of Lin Ch'un's (fl. 1174-1189) Birds Attracted by Fruit in the Peking Palace Museum. This is an example of the Sung custom of producing more than one version of the same painting. This is the 3rd leaf of the 1st album in " Garden of Treasures".
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收藏著錄 |
石渠寶笈續編(重華宮),第三冊,頁1681
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收藏著錄 |
故宮書畫錄(卷六),第四冊,頁203
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參考書目 |
1.林柏亭,〈黃筌蘋婆山鳥〉,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。
2.林柏亭,〈「七十件書畫冊頁名品特展」精選(五) — 黃筌蘋婆山鳥〉,《故宮文物月刊》,第150期(1995年9月),頁103-104。
3.邱士華,〈蘋婆山鳥〉,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369-370。
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參考書目 |
劉芳如,〈藝苑藏真(上) 冊 五代黃筌蘋婆山鳥〉,收入《來禽圖—翎毛與花果的和諧奏鳴》(臺北:國立故宮博物院,2019.01),頁28-33。
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收藏著錄 |
〈藝苑藏真(上) 冊 五代黃筌蘋婆山鳥〉,收入李玉珉主編《故宮書畫圖錄(卅一)》(臺北:國立故宮博物院,2012.12),頁48-53。
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參考書目 |
何傳馨,〈藝苑藏真(上) 冊 五代黃筌蘋婆山鳥〉,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233、369-370。
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