五代人丹楓呦鹿 軸 Anonymous , 118.5x64.6

詳細資料

基本資料 藏品類型 繪畫
文物統一編號 故畫000032N000000000 抽盤點紀錄 修護紀錄
作品號 故畫00003200000
品名 五代人丹楓呦鹿 軸
分類 繪畫
作者 Anonymous
數量 一軸

典藏尺寸 【位置】 【尺寸】(公分)
本幅 118.5x64.6

質地 【質地位置】 【質地】
本幅

印記資料 【印記類別】 【印記】
鑑藏寶璽 乾隆御覽之寶
鑑藏寶璽 乾隆鑑賞
鑑藏寶璽 石渠寶笈
鑑藏寶璽 三希堂精鑑璽
鑑藏寶璽 宜子孫
鑑藏寶璽 嘉慶御覽之寶
鑑藏寶璽 宣統御覽之寶
收傳印記 奎章(半印)
收傳印記 天曆(半印)
收傳印記 李之粹
收傳印記 九如清玩
收傳印記 也園珍賞
收傳印記 阿爾喜普
收傳印記 東平

主題 【主題類別】 【主題(第一層)】 【主題(第二層)】 【主題說明】
主要主題 走獸 鹿
其他主題 山水 秋景
其他主題 樹木

參考資料 【類別】 【參考資料】
收藏著錄 石渠寶笈初編(養心殿),上冊,頁667
收藏著錄 故宮書畫錄(卷五),第三冊,頁33-34
收藏著錄 故宮書畫圖錄,第一冊,頁139-140
參考書目 1.陳階晉,〈五代人丹楓呦鹿圖〉,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65-67。 2.陳階晉,〈五代人丹楓呦鹿 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259-263。 3.陳階晉,〈五代人丹楓呦鹿圖〉,收入石守謙、葛婉章主編,《大汗的世紀:蒙元時代的多元文化與藝術》(臺北:國立故宮博物院,2001年初版),頁289-290。 4.〈五代作者佚名丹楓呦鹿〉,收入國立故宮博物院編輯委員會編,《名寶上珍》(臺北:國立故宮博物院,1995年初版一刷),頁206。 5.李霖燦,〈丹楓呦鹿和秋林群鹿圖〉,《故宮文物月刊》,第2期(1983年5月),頁49-54。 6.本社,〈五代丹楓呦鹿〉,《故宮文物月刊》,第67期(1988年10月),頁1。 7.徐文琴,〈五代人丹楓呦鹿圖〉,《故宮文物月刊》,第100期(1991年7月),頁70。 8.張錯,〈五代乎?宋遼乎?〈秋林群鹿〉及〈丹楓呦鹿〉〉,《故宮文物月刊》,第306期(2008年9月),頁14-27。 9.陳階晉,〈五代人丹楓呦鹿〉,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252。
內容簡介(中文) 畫秋日楓林中,群鹿嬉遊憩息的情景。幅中遍佈濃密草木,中央較空疏處,閒散之鹿群或臥或立,左右略相對襯,構圖上頗為和諧穩定。畫鹿先淡勾輪廓,再以墨多次渲染;濃淡凹凸分明,效果突出。周圍樹木色彩變化妍麗,筆法細緻活潑。在風格上,揉和了寫實與裝飾的趣味。
內容簡介(英文) This painting portrays a maple grove on an autumn day. The crimson maples and deep blue shadows enframe a herd of deer within a central clearing. Some of the deer stand grazing, others lie resting, while others affect a playful attitude. To the left and right of the clearing, trees and grasses stabilize and complete the composition. The deer were first outlined with very light ink, then given a sense of weight and volume by the addition of layers and layers of increasingly darker ink. This method of shading is not traditionally Chinese but indicates, rather, an influence from outside China. The extraordinary naturalism of the deer contrasts with, but is also balanced by the elegance of the surrounding foliage, giving the viewer a sense of quiet perfection. The dimensions of this painting correspond almost exactly with those of "Herd of Deer in an Autumn Forest". The style and setting of the two paintings are also quite similar. Thus, it is probable that these works are from the hand of a single artist.
內容簡介(中文) 這幅畫無作者名款,描繪群鹿遊憩於色彩斑爛的秋林中,和另一幅〈秋林群鹿〉的風格尺寸極為接近,應是同一組畫作。 圖中鹿隻的頭部都朝向同一方向轉去,似乎聽到發自森林中某處的聲響。鹿的軀體用暈染法,有凹凸分明的效果,周圍的樹木用沒骨畫法,色彩燦爛繽紛。叢樹密列,透過樹幹可以窺見憩息於後的鹿隻,本幅畫法與傳統中國花卉翎毛畫法略有差異,可能和遼或契丹有關。
內容簡介(英文) This painting bears no signature of the artist. Depicted is a herd of deer roaming about a dense and colorful autumn grove of maples. This work matches the size and style of another in the Museum and they probably once were part of a set. The heads of the deer here face in the same direction, as if having just heard something in the forest. Their bodies are rendered in washes of color to give a sense of volume. The trees have been done in the "boneless" manner of washes with no outlines, and the deer can be seen through the nowtransparent tree trunks. This style differs somewhat from traditional Chinese painting methods and may be related to a foreign manner practiced under the Liao dynasty (907-1125).
內容簡介(中文) 這幅畫無作者名款,描繪群鹿遊憩於色彩斑爛的秋林中,和另一幅〈秋林群鹿〉的風格尺寸極為接近,應是同一組畫作。 圖中鹿隻的頭部都朝向同一方向轉去,似乎聽到發自森林中某處的聲響。鹿的軀體用暈染法,有凹凸分明的效果,周圍的樹木用沒骨畫法,色彩燦爛繽紛。叢樹密列,透過樹幹可以窺見憩息於後的鹿隻,本幅畫法與傳統中國花卉翎毛畫法略有差異,可能和遼或契丹有關。(20061206)
內容簡介(英文) This painting, bearing no signature or seal of the artist, depicts a herd of deer roaming leisurely about a dense and colorful grove of maple trees in autumn. This work closely matches the size and style of another painting in the Museum and on display here (“Herd of Deer in an Autumnal Grove”). Both were probably once part of the same set. The heads of the deer here face in the same direction, as if having just heard something in the forest. Their bodies are rendered in delicate shades of color washes to give them a sense of volume. The trees also have been done in the “boneless” manner of washes with no outlines, making for a riot of color and form. In the dense forest, the bodies of the deer can also be seen behind the tree trunks. This style differs somewhat from traditional Chinese painting methods found in the genres of birds-and-flowers and animals, and it may be related to a foreign manner practiced by the Khitan under the Liao dynasty (907-1125).(20061206)
網頁展示說明 本幅畫秋日楓林中,群鹿嬉遊憩息的情景,和院藏另一幅尺幅相同的〈秋林群鹿〉畫風極為接近。二者均無作者款印,有學者推測此或出自巨幅聯屏或通景屏,屬同一組畫作。 全圖不留空白,鹿隻或昂首遠望;或豎耳聆聽,意態生動。鹿的軀體用暈染法,周圍的樹木用沒骨畫法,色彩絢麗,極富裝飾趣味。通幅古風盎然,唯畫法及設色與漢人相異,因此被認為是十世紀後半遼代繪畫之代表作。 (20110913)
網頁展示說明 This work depicts a maple forest in autumn with a scene of a herd of deer frolicking and resting. It is very close in size and style to another work in the National Palace Museum collection, “Herd of Deer in an Autumnal Grove.” Neither of these works bear the seal or signature of the artist, but scholars have suggested that they may have come from a larger continuous screen or series of screen paintings, having once been part of the same set. No blank space is left in the painting as the deer look up and out or have their ears standing at attention in a very lifelike manner. The bodies of the deer were rendered using haloes of wash, the surrounding trees done with the “boneless” painting method of washes. The colors are gorgeous, yielding an exceptionally decorative manner. The painting is brimming with archaism, but the painting and coloring methods differ from Chinese traditions, which is why this work has been considered representative of Liao dynasty painting from the latter half of the tenth century. (20110913)
參考書目 陳韻如,〈五代人丹楓呦鹿 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80-85、265-266。
參考書目 國立故宮博物院編輯委員會,〈五代人丹楓呦鹿 軸〉,收入《故宮書畫菁華特輯》(臺北:國立故宮博物院,1996.10),頁65-67。