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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈初編（養心殿），上冊，頁667
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁33
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收藏著錄 |
故宮書畫圖錄，第一冊，頁137-138
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參考書目 |
1.陳階晉，〈五代人秋林群鹿〉，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64、66。
2.陳階晉，〈五代人秋林群鹿 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258-262。
3.陳階晉，〈秋林群鹿〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁193。
4.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。
5.陳階晉，〈五代人秋林群鹿〉，《故宮文物月刊》，第200期（1999年11月），頁26-27。
6.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。
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內容簡介（中文） |
無作者名款，畫秋日楓林中，群鹿嬉遊憩息情景。畫法極奇，異於一般傳統方法，似受外來影響，具有濃厚裝飾趣味。畫鹿全以淡墨分染，畫樹葉先用細筆?輪廓與脈絡，再用汁綠漬染，或用粉填，然後淡罩彩色，彩不掩墨，自有光彩浮動，生意榮茂之色。通幅予人精緻柔麗感覺。（圖畫見聞誌）載宋仁宗時，遼獻千角鹿圖，本幅或與此有關。
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內容簡介（英文） |
This anonymous hanging scroll portrays a herd of deer gathered in cold autumn woods. Some of the deer stand quietly while others ramble about. The style here differs from traditional Chinese techniques. With a strong decorative quality, it seems to have been created under the influence of a foreign art style. The brushwork is forceful, yet the deer were done in gentle washes of ink. The leaves were first delicately outlined and detailed. Washes of green were applied, then mineral white, and finally more washes of color. Thus, the brilliant, semi-transparency and "floating richness" of the lively colors were achieved. An 11th-century record mentions a foreign Liao (907-1119) painting of a similar subject that is perhaps related to this work.
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內容簡介（中文） |
無作者名款，畫秋日楓林中，群鹿嬉遊憩息情景。畫法極奇，異於一般傳統方法，似受外來影響，具有濃厚裝飾趣味。畫鹿全以淡墨分染，畫樹葉先用細筆鉤輪廓與脈絡，再用汁綠漬染，或用粉填，然後淡罩彩色，彩不掩墨，自有光彩浮動，生意榮茂之色。通幅予人精緻柔麗感覺。《圖畫見聞誌》載宋仁宗時，遼獻千角鹿圖，本幅或與此有關。(20061206)
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內容簡介（英文） |
This hanging scroll, bearing no signature or seal of the painter, represents a herd of deer gathered in a maple forest on an autumn day. Some of the deer stand quietly as others ramble about. The painting method here differs somewhat from traditional Chinese techniques. With its strongly decorative quality, it seems to have been created under the influence of a foreign art style. The deer have been done completely in light ink and washes. The outlines and veins of the tree leaves were first delicately outlined, washes of green applied, then mineral white filled in, and finally more light washes of color added. The colors do not conceal the ink, creating for a brilliant, semi-transparent “floating richness” with its lively hues. The painting thereby exudes a refined quality of soft beauty. An 11th-century record in Comments on Paintings Seen and Heard mentions that paintings of a “thousand deer” were presented to the Sung dynasty under Emperor Shen-tsung (r. 1068-1085) by the Liao dynasty (907-1125) court. This painting may have been related to such a tradition.(20061206)
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參考書目 |
劉芳如，〈五代人秋林群鹿 軸〉，收入《國寶的形成-書畫菁華特展》（臺北：國立故宮博物院，2017.10），頁56-61、303。
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參考書目 |
國立故宮博物院編輯委員會，〈五代人秋林群鹿 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁64。
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