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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈三編（延春閣），第三冊，頁1371
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁66
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收藏著錄 |
故宮書畫圖錄，第一冊，頁301-302
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參考書目 |
1.譚怡令，〈宋徽宗蠟梅山禽〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁86-87。
2.譚怡令，〈宋徽宗蠟梅山禽 軸〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁194-197。
3.李霖燦，〈從臘梅山禽談起—故宮讀畫箚記〉，《故宮文物月刊》，第9期（1983年12月），頁50-56 。
4.譚怡令，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁24。
5.譚怡令，〈宋徽宗臘梅山禽〉，《故宮文物月刊》，第100期（1991年7月），頁73。
6.譚怡令，〈真實與理想的調色盤〉，《故宮文物月刊》，第285期（2006年12月），頁4-10。
7.譚怡令，〈宋徽宗蠟梅山禽〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁266。
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內容簡介（中文） |
徽宗（西元1082-1135年），名佶。性好書畫，不但擅長花鳥、山水、人物，也喜好收藏法書名畫，遂使內府珍藏的名蹟，百倍於前朝。
本幅描繪兩隻白頭棲息梅枝上，花枝間則有隻黃蜂來回飛繞。用筆秀瘦而內含勁力，極富精勁清雅的風韻。畫中的題字，即徽宗有名之「瘦金書」。
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內容簡介（英文） |
Hui-tsung, whose given name was Chi, ascended to the throne in 1102. He enjoyed both painting and calligraphy, and not only excelled at bird and flower, landscape and figure painting, but was also an enthusiastic collector of calligraphy and paintings. His collection was much larger and more impressive than those of his predecessors.
This painting depicts a pair of bulbuls perched on a branch of chimonanthus fragrans in bloom, a wasp flying amid the branches, and a rue plant underneath. The strokes of the brush is beautifully slender, yet full of strength. The flavor of the brushwork is very rich, refined and strong, pure and elegant. This work also possess an inscription in the famous “slender gold” calligraphic style of Hui-tsung.
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內容簡介（中文） |
宋徽宗（1082－1135），姓趙名佶。擅長書畫，也好收藏歷代作品，遂使內府珍藏的名蹟，百倍於前朝。 本幅梅枝上棲息白頭翁二隻，其間胡蜂飛繞，下有山礬二株，並以「瘦金書」書寫款題。構圖簡潔，用筆秀瘦而內含勁力，表現冬日的清疏氣氛。對實物的仔細觀察，使線條隨物形而變化，再加上作者經心的構想，以梅幹的Ｓ型走向來展現韻律感，表達出一份超越自然實景的理想化美感。(20061206)
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內容簡介（英文） |
The Sung dynasty emperor Hui-tsung also had the common name Chao Chi. Excelling at painting and calligraphy, he was also an astute collector of works of art, gradually amassing a collection of precious masterpieces at the court that far exceeded the scope and quality of those of previous dynasties. This work shows a pair of Chinese bulbuls perched on the branch of a plum tree in blossom with a wasp flying about. Below are two stalks of blossoming sweetleaf sprouting up from below, and to the left is a poem and the right a signature, both done in Hui-tsung’s distinctive “slender gold script”. The composition is simple yet extremely effective, and the brushwork is elegantly precise yet very strong, expressing the pure and crisp atmosphere of a cold winter’s day. With regards to the detailed observation of the physical forms, lines and strokes closely follow and change with variations in the shapes and textures. In addition, the attention of the artist in composing the scene is reflected in the “S”-shape of the trunk of the plum tree that rhythmically expands into the upper portion of the scroll to express the idealized beauty of a supra-natural scene.(20061206)
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網頁展示說明 |
宋徽宗趙佶（1082－1135），是一位詩、書、畫三絕的藝術家皇帝，建立完備畫院制度，以詩句為畫題選取人才，重視對實物的觀察，這種結合詩畫和寫生的繪畫觀念，對中國繪畫的發展深具影響力。
此幅可能即《宋中興館閣儲藏圖畫記》中徽宗八扇屏之一的〈香梅山白頭〉，兼具詩情畫意，精練筆墨表現景物特性，構圖簡潔，設計Ｓ型弧線，在寫生之外，又著意營造具造型美感和冬日清疏氣氛的理想境界。
(20110913)
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網頁展示說明 |
Huizong, given name Zhao Ji, was an artistic emperor gifted at the “Three Perfections” of poetry, calligraphy, and painting. He established a Painting Academy for the complete study of painting at the court, using lines of poetry for painting subjects to recruit and select artists of talent. He also paid attention to observing things as they appear in nature. This combination of painting theories fusing painting and calligraphy as well as “sketching from life” had a deep and lasting influence on the development of Chinese painting.
This work may have been one of eight screen paintings by Huizong mentioned in Record of Paintings Stored in the Revival Halls of the Song, “Fragrant Plum Blossoms and Wild Bulbul.” With its lyrical and painterly manner, the refined use of brush and ink expresses the characteristics of the scenery, and the composition is succinct and designed into an “S”-shaped arc. In addition to “sketching from life,” great pain was taken to create aesthetic forms and an idealized realm of the pure and crisp atmosphere on a winter’s day.
(20110913)
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參考書目 |
陳韻如，〈宋徽宗蠟梅山禽 軸〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁78-79、265。
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參考書目 |
國立故宮博物院編輯委員會，〈宋徽宗蠟梅山禽 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁86-87。
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