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【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁333
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收藏著錄 |
盛京故宮書畫錄，第五冊，頁18a
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收藏著錄 |
故宮書畫圖錄，第七冊，頁177-178
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內容簡介（中文） |
呂紀，（活動於西元1429－1505年間），浙江鄞縣（今寧波）人。字廷振，號樂愚，一作樂漁。弘治（1488－1505）間值仁智殿，官至錦衣指揮。花鳥初學邊文進（活動於1403－1428），後摹唐宋諸名家筆，而更精妙。
烟嵐迷漫的秋夜裡，明月半懸，四隻豆雁棲息在半隱半現的木芙蓉和蘆葦叢間的坡地上，其中三隻已入眠，另一隻則正對著明月引頸長鳴。但作者所要呈現的應不只是雁群在夜間棲息時，會由一雁警戒守夜的習性而已，還有一份對時、對景抒發情懷的心境，進而畫出了秋夜的淒清。幅中畫鳥畫花的筆墨，工整細緻而不刻板，畫石則較寫意，這種結合工寫，又能掌握住情境氣氛的作品，正是呂紀所擅長的繪畫風格，並對後世畫家有極大的影響。（譚怡令）
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內容簡介（英文） |
Lu Chi (style name T’ing-chen, sobriquet Yao-yu) was a native of Ning-po, Chekiang province. During the Hung-chih period (1488-1505), he served in the Jen-chih Hall and held the rank of commander in the Imperial Bodyguard, a military unit that also provided sinecures for court painters. In bird-and-flower painting, he initially studied the works of Pien Wen-chin and later emulated the paintings of famous T’ang (618-907) and Sung (960-1279) dynasty artists.
The original title of this painting was Geese among Reeds and Hibiscus. In this painting, four geese gather into a group to sleep. A gander standing on the bank stretches his neck toward the moon and cries out an alarm. The pair of wagtails perched on a branch represent an interesting, additional decorative element in the composition. The artist has succeeded in portraying a misty scene evocative of a peaceful autumn night. The combination of meticulous brushwork (kung-pi) with expressive ideas (hsieh-i) and the use of outlining techniques with the “boneless” method (mo-ku) are traits of Lu Chi which greatly influenced artists of later generations.
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內容簡介（中文） |
呂紀（活動於西元一四七七－一四九七年間），浙江鄞縣人。字廷振，號樂愚，一作樂漁。花鳥初學邊文進，後摹唐宋諸名家筆，始臻其妙。弘治（西元一四八八－一五○五年）間被徵值仁智殿，授錦衣衛指揮使。
雁群聚宿，一雄戒夜，對月而鳴。蘆葉芙蓉，互相糾結，鶺鴒一雙棲息其間，而一片溟濛夜氣，全得力於烘染之功。深秋寒夜，江渚淒聲，筆墨之間，形容殆盡。
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內容簡介（英文） |
Lu Chi, style name T’ing-chen, sobriquet Yao-yu was a native of Yin County, Chekiang. In the genre of flower and bird painting, Lu initially studied the works of the early Ming dynasty painter, Pien Wen-chin. He later emulated the works of the T’ang (618-907) and Sung (960-1279) masters. He eventually became one of the greatest painters of birds and flowers of the Ming dynasty. During the Hung-chih era (1488-1505), he was summoned to serve in the Hall of Benevolent Wisdom (Jen-chih Tien) in the imperial court. Lu served as a commander in the Imperial Bodyguard, a military unit that also provided sinecures for court painters.
A flock of wild geese sleeps on a small islet along a river. One keeps watch, calling to the moon. Above them, among the intertwined reeds and hibiscus, perches a pair of wagtails. The desolate chill of the autumn night enveloped in drifting bands of mists is sensitively communicated through the artist’s masterful use of washes.
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內容簡介（中文） |
呂紀（活動於西元一四三九─一五０五年間），浙江鄞縣（今寧波）人。字廷振，號樂愚，一作樂漁。孝宗弘治（一四八八─一五０五）間值仁智殿，官至錦衣指揮。花鳥初學邊文進，後摹唐宋諸名家筆，結合工寫，益臻其妙。
此畫原籤題為芙蓉蘆雁。畫四隻豆雁群宿，一雄戒夜，對月而鳴，另有一雙鶺鴒點綴畫面。畫家藉煙水蒼茫、雲煙變化的光影效果，塑造出一片安謐柔美的秋夜風情。呂氏「兼工帶寫」的花鳥畫風格，兼融勾勒與沒骨淡彩，準確把握住翎毛花卉的姿態神韻，對後世畫家有極大影響。
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參考書目 |
1.譚怡令，〈明呂紀秋渚水禽〉，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102。
2.譚怡令，〈明呂紀秋渚水禽〉，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93。
3.譚怡令，〈秋意上心頭—明呂紀秋渚水禽〉，《故宮文物月刊》，第347期（2012年2月），頁56-62。
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網頁展示說明 |
烟嵐迷漫的秋夜，明月半懸。芙蓉、蘆葦坡地棲息豆雁四隻，三已入眠，一對月長鳴。幅中畫花鳥的筆法工細而不刻板，畫坡石則寫意。不但表現雁群夜間棲息時，由一雁警戒守夜的習性，也畫出秋夜的淒清，並寄託著借時、借景抒發情懷的心境，是表現呂紀結合工寫，擅於掌握情境氣氛特色的代表作。(20120105)
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網頁展示說明 |
On a hazy and misty autumn evening, a partial bright moon appears suspended in the skies above. Four bean geese rest on a bank with hibiscus and reeds; three have already fallen asleep as another cries out at the moon. The brushwork in painting the birds and flowers in this work is fine but not stiff, while the rendering of the slope is sketchy yet complete. Not only does this work portray geese resting at night, it also shows the habit of one of the geese standing guard over the others. The painting likewise conveys the coolness of an autumn evening while serving as a means for the artist to lodge the various emotions of a certain time and scene. In terms of technique, this work thus demonstrates Lu Ji's ability to fuse fine and sketchy manners, being a representative example of his grasping both mood and atmosphere.(20120105)
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網頁展示說明 |
雲霧が立ち込める秋の夜、名月が半分ほど顏を出している。芙蓉や葦草が茂る土手の斜面に4羽のヒシクイがいて、その內の3羽はすでに眠りにつき、殘る1羽は月に向かって長々と鳴いている。花鳥を描く筆法は非常に細やかだがありきたりな表現に陥っておらず、岸辺の岩石は写意によって描かれている。夜間に羽根を休めるヒシクイの群れの様子はもちろんのこと、夜も周囲を警戒する鳥の習性によって、物寂しい秋の夜の風情も描かれている。また、借時と借景を通してその心情も表現されており、呂紀が工筆と写意を結び付けたことを示している。巧みな情景描写を得意とした呂紀の代表作である。(20120105)
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參考書目 |
童文娥，〈明呂紀秋渚水禽 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70-73。
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