| 基本資料 | 藏品類型 | 繪畫 |
| 文物統一編號 | 故畫001265N000000016 抽盤點紀錄 修護紀錄 | |
| 作品號 | 故畫00126500016 | |
| 品名 |
歷代名繪 冊 明邊文進梅花幽鳥 |
|
| 分類 | 繪畫 | |
| 作者 | 邊文進 | |
| 數量 | 一幅 |
| 典藏尺寸 | 【位置】 | 【尺寸】(公分) |
| 本幅 | 23.8x24.7 | |
| 對幅 | 23.8x24.7 |
| 質地 | 【質地位置】 | 【質地】 |
| 本幅 | 絹 |
| 題跋資料 | 【題跋類別】 | 【作者】 | 【位置】 | 【款識】 | 【書體】 | 【全文】 |
| 作者款識 | 邊文進 | 本幅 | 景昭 | 楷書 | ||
| 題跋 | 梁詩正 | 對幅 | 臣梁詩正敬題 | 行書 | （梁詩正行書題句。文不錄。） | |
| 印記： 臣、詩正 | ||||||
| 印記資料 | 【印記類別】 | 【印記】 |
| 主題 | 【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 | 翎毛 | 黃鶥 |
| 技法 | 【技法】 | 【技法細目】 |
| 工筆 | ||
| 雙鉤 |
| 參考資料 | 【類別】 | 【參考資料】 |
| 收藏著錄 | 石渠寶笈初編（重華宮），下冊，頁736 | |
| 收藏著錄 | 故宮書畫錄（卷六），第四冊，頁258 | |
| 內容簡介（中文） | 邊文進（活動於西元一四０三－一四二八年），名景昭；以字行。福建沙縣人，祖籍甘肅隴西。明初花鳥院畫家中，以邊氏最為有名，畫翎毛花果皆極精妙。永樂朝任職於工部文思院，直謹身殿待詔；宣德間被授予武英殿待詔官銜。其花鳥畫曾被譽為「禁中三絕」之一。 本幅繪白梅盛開，枝幹曲虯橫出，畫中一黃眉鷡引頸顧望棲於枝上，逼真傳神。此扇面無論題材、構圖、設色均存南宋院畫意趣；畫梅枝用筆與邊氏「三友百禽」頗為近似，畫幅上遺有「景昭」之署款。 | |
| 內容簡介（英文） | Plum Blossoms and Solitary Bird Pien Wen-chin (act. ca. 1403-1428) Ming Dynasty Pien Wen-chin was named Ching-chao but used his style name Wen-chin as his personal name. He was a native of Sha-hsien, Fukien province, though his ancestral home was in Lung-hsi, Kansu province. He was the most famous bird-and-flower painter at the early Ming court, and his paintings are truly exquisite. During the Yung-lo period (1403-1424), Pien Wen-chin served in the Crafts Institute of the Ministry of Works, and then became a Painter-in-Attendance in the Ching-shen Hall. During the Hsuan-te period (1426-1435), he was appointed Painter-in-Attendance in the Wu-ying Hall. A twisted branch of white plum blossoms in full bloom stretches across the composition. A yellow-browed bunting perched on the plum branch cranes its neck. Pien Wen-chin captured not only the lifelike appearance but also the spirit of the bird. In terms of subject matter, composition, and coloration, this fan painting is reminiscent of the evocative qualities of Southern Sung court paintings. The brushwork in the plum branch is very similar to that in The Three Friends and One Hundred Birds also by Pien Wen-chin, and this painting also bears the signature “Ching-chao.” | |
| 內容簡介（中文） | 邊文進，生卒年不詳。字景昭，福建沙縣人。永樂（西元一四０三至一四二四年）間召至京師，授武英殿待詔，宣德（西元一四二六至一四三五年）間仍供事內殿。博學能詩，善畫花果翎毛，為其後呂紀等人師法的匠師。 本幅扇面，款署「景昭」二字，似有塗抹之痕跡。圖中畫一山雀站在梅枝引頸長鳴的情景，鳥身羽毛的鬆活、枝幹的老堅，都極為逼真傳神，畫技相較宋人也未見遜色。 本幅為「歷代名繪」冊第十六開。 | |
| 內容簡介（英文） | Pien Wen-chin, style name Ching-chao, was a native of Sha County, Fukien. He was summoned to the capital during the Yung-lo era (1403-1424), where he served as a Painter-in-Attendance in the Wu-ying Hall. During the reign of the Hsuan-te Emperor (r. 1426-1435), he served in the Inner Court. He was an accomplished poet, and in the arts he excelled at flower and bird painting. He was considered the finest of the Ming Dynasty academy artists prior to Lu Chi (fl. ca. 1477-1497), who, along with many later artists, was greatly influenced by Pien. A yellow-throated bunting lifts its head in song as it perches on a branch of plum blossoms. The artist has communicated both the bird’s soft plumage and the tree’s weathered stiffness with convincing realism. The inkwork here is at least equal to the brush techniques of the Sung dynasty masters. The seal on this round fan, which has been mounted as an album leaf, bears the two slightly smudged characters “Ching-chao,” the artist’s style name. | |
| 收藏著錄 | 故宮書畫圖錄，第二十八冊，頁340-347 | |
| 參考書目 | 1.譚怡令，〈明邊文進梅花幽鳥〉，收入譚怡令編，《呂紀花鳥畫特展》（臺北：國立故宮博物院，1995年初版），頁98。 2.劉芳如，〈明邊文進梅花幽鳥〉，收入國立故宮博物院編輯委員會編，《畫梅名品特展》（臺北：國立故宮博物院，1991年元月初版），頁88。 3.譚怡令，〈明邊文進梅花幽鳥〉，收入譚怡令編，《畫裡珍禽》（臺北：國立故宮博物院，1988年十月初版），頁90-91。 |
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