| 文物統一編號 |
故畫001113N000000001
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| 作品號 |
故畫00111300001 |
| 品名 |
唐刁光胤寫生花卉 冊 桃花雙蝶磐石帶草
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| 分類 |
繪畫 |
| 作者 |
刁光胤 |
| 數量 |
一幅 |
| 位置 |
尺寸(公分) |
| 對幅 |
26.8x31.1 |
| 本幅 |
32.6x36.2 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
刁光胤 |
本幅 |
刁光㣧 |
|
|
| 題跋 |
宋孝宗 |
對幅 |
御題 |
楷書 |
融融風日雜花開。一雨凋殘滿綠苔。賴有紅妝來拾翠。無端蝴蝶鬥飛來。御題。 |
| 題跋 |
清高宗
印記 expand_more
|
本幅 |
|
行書 |
元都又值早春開。喜綴芳枝惜㸃苔。賸有漆園談夢覺。前身誰辨菜蟲來。 |
|
|
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
宋徽宗 |
（乾卦） |
| 收傳印記 |
宋高宗 |
御府圖書（半印） |
| 收傳印記 |
高士奇 |
清吟堂祕笈印 |
| 鑑藏寶璽 |
清高宗 |
八徵耄念之寶 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清高宗 |
太上皇帝 |
| 鑑藏寶璽 |
清高宗 |
古希天子 |
| 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 |
清高宗 |
乾隆御覽之寶 |
| 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 |
花草 |
梅（白．紅．蠟梅） |
白梅 |
| 主要主題 |
草蟲 |
蝶蛾 |
|
| 次要主題 |
山水 |
春景 |
|
| 技法 |
技法細目 |
| 工筆 |
|
| 皴法 |
折帶皴 |
| 皴法 |
斧劈皴 |
| 寫意 |
|
| 類別 |
參考資料 |
| 內容簡介 |
刁光胤，一作光引，唐末雍京（今西安）人。黃巢之亂，隨僖宗避難至四川，復於昭宗天復年間（九O一—九O三）抵成都。善繪湖石、花竹、貓兔、鳥雀與龍水。在蜀中三十餘年，蜀人從其學者甚多，黃筌、孔嵩等人，曾親受其指導。
冊凡十幅，畫均設色，鮮麗精工，款金書「刁光胤」尤為奇特。一、桃花雙蝶，二、枯樹五羊，三、葵花立石，四、喬松臥兔，五、竹菊孤石，六、山貓遊蜂，七、老幹紅英，八、秋塘蜻蜓，九、水仙倚石，十、芙蓉蘸水。
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| 內容簡介 |
刁光胤（十世紀）的原籍是陜西西安，唐朝末年，因為黃巢作亂，才避難到四川成都。他善於畫湖石、花竹和鳥雀等題材，當地很多知名的畫家，都曾經跟隨他學習。
本幅選自「刁光胤寫生花卉」冊。畫雙蝴用粗筆點染，配景桃花與坡石細草，則描繪精謹、著色鮮艷，左下角更以泥金簽名，感覺分外搶眼。雖然沿襲了唐畫的古樸與厚重，但推測應該是後人的仿作。
|
| Description |
Tiao Kuang-yin, originally from Hsi-an in Shensi, fled to Ch'eng-tu in Szechwan during the Huang Ch'ao rebellion in the late T'ang. As a painter, he excelled at such subjects as garden rocks, flowers and bamboo, and birds and sparrows. In Szechwan, many famous painters studied under him.
This work from the album "Flowers Sketched from Life by Tiao Kuang-yin" shows a pair of butterflies depicted in sketchy brushwork with washes of ink. The background of blossoming peach trees and grasses by a rocky slope, however, was painted with more precise brushwork and opulent colors. In the lower right is a striking signature in gold ink. Although this work follows the simplicity of T'ang painting, it appears to be by a later artist.
|
| Description |
Tiao Kuang-yin was from Yung-chin (present-day Sian). To escape from the dangers of the Huang Chao rebellion, he fled to Szechwan with the emperor Hsi-tsung (r. 873 – 888). At the turn of the tenth century, he accompanied the emperor Chao-tsung (r.888-904) to Ch'eng-tu, Szechwan. He was noted for his paintings of rocks, flowers and bamboo, cats and rabbits, dragons and water, and birds. He lived in Szechwan for over thirty years, where he taught many pupils such as Huang Ch’uan and K'ung Sun.
These ten album leaves, all rendered in color, are exquisitely executed in careful detail. The artist's signature in gold is particularly fine. The first album leaf depicts a blossoming peach tree and two butterflies; the second, five sheep beneath withered old trees; the third, sunflowers and an upright rock; the fourth, a rabbit resting beneath a stately pine; the fifth, bamboo and chrysanthemums around a solitary rock; the sixth, a wild cat chasing a bee; the seventh, an old trunk of a tree and red blossoms; the eighth, a dragonfly above an autumn pond; the ninth, narcissus and a curious rock; and the tenth, a water-drenched hibiscus.
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| 收藏著錄 |
石渠寶笈續編（重華宮），第三冊，頁1500
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| 收藏著錄 |
故宮書畫錄（卷六），第四冊，頁1
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| 收藏著錄 |
故宮書畫圖錄，第二十二冊，頁34-39
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| 參考書目 |
1.王耀庭，〈刁光胤桃花雙蝶〉，收入國立故宮博物院編輯委員會編，《草蟲畫特展圖錄》（臺北：國立故宮博物院，1986年初版），頁71。
2.劉芳如，〈中國古畫裡的草蟲世界 — 「草蟲天地」特展介紹（上）〉，《故宮文物月刊》，第220期（2001年7月），頁5。
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本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理
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