| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1541
|
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁151-152
|
|
收藏著錄 |
故宮書畫圖錄，第三冊，頁129
|
|
內容簡介（中文） |
漢書五行志：「正月朔日是為三朝。」唐顏師古注：「正月一日為歲之朝」。歲朝，是指一歲之始，此時一元復始，萬象更新，歷代畫家作歲朝圖，含有元旦開筆，預祝一年萬事吉利之意。本幅繪泉石臨流，雉雞一對，麻雀數隻，山茶旁生於老梅幹後，綠竹新生於迴流之上。水仙、白梅、紅茶上下分別盛開，色調朱白相映，通幅設色濃而不艷，一派和熙春色。院藏魯宗貴「春韶鳴喜」，與此幅布置結構相同。
|
|
內容簡介（英文） |
According to traditional Chinese accounts, the first day of the first lunar month represents the official start of the new year. The myriad phenomena of Nature renew their life-force, and everyone is filled with the hope for a new beginning and good luck in the coming year. New Year paintings celebrate these wishes with auspicious imagery. This scroll shows rocks by a flowing stream, a pair of pheasants, and sparrows. Camellias grow by the trunk of a plum tree and new green bamboo sprout by the stream. The reds and whites of the blossoms are skillfully arranged in harmonious patterns. The colors are beautiful. The composition of this painting is very similar to a painting by the Sung artist Lu Tsung-kuei, also in the Museum's collection.
|
|
內容簡介（中文） |
歲朝，指一歲之始，歷代畫家作該圖，含有元旦開筆，預祝一年萬事吉利之意。
本幅繪拳石臨流，雉雞一對，麻雀數隻，山茶旁生於老梅幹後，綠竹新生於迴流之上。水仙、紅茶、白梅等花上下分別盛開，色調朱白相映，通幅設色濃而不艷，一派和熙春色。舊傳為宋人之作，然筆觸色調皆不類，疑是明人學呂紀畫風。
|
|
內容簡介（英文） |
In traditional Chinese accounts, the start of the New Year was celebrated by artists with paintings. The first works were done with auspicious motifs as blessings for a prosperous and happy new year.
Appearing in this painting is a pair of pheasants on a rock before a stream. Among the plum branches in bloom above are three sparrows as camellia blossom next to the tree trunk. New shoots of bamboo appear from behind the rock as various blossoms decorate the scene below. The placement of red and white create for a colorful, but not too opulent, painting that reflects the start of a bountiful spring. Though attributed to a Sung artist, the brushwork and coloring suggest that it was studied from the style of the Ming (1368-1644) artist Lu Chi.
|
|
參考書目 |
童文娥，〈宋人歲朝圖 軸〉，收入童文娥主編《十指春風—緙繡與繪畫的花鳥世界》（臺北：國立故宮博物院，2015.04），頁202-207。
|
推薦
