| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈續編（御書房），第四冊，頁1990
|
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁332
|
|
收藏著錄 |
故宮書畫圖錄，第七冊，頁173-174
|
|
參考書目 |
1.譚怡令，〈明呂紀草花野禽〉，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105-106。
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。
|
|
內容簡介（中文） |
高梁叢底下，一對野雉正在低頭覓食，另外還有三隻蓽雀翱翔於上，構景既真實生動，又富趣味性。畫上並沒有作者的簽名，因為鈐蓋了呂紀的印章，而被誤認為是他的作品。實際上這幅畫雖然極好，但風格卻和呂紀不盡相同，推測應該出自明代其他高手所作。呂紀（活動於1439-1505年間），浙江鄞縣人。明孝宗時任職於仁智殿作畫，並被授予錦衣指揮的官名。
|
|
內容簡介（英文） |
Wild Birds and Flowers Attributed to Lu Chi (fl. 1439-1505) Ming Dynasty Underneath sorghum plants blowing in the wind, 2 ring-necked pheasants lower their heads as they forage for food. Three nutmeg manikins are perched or fly above to give this interesting composition a sense of dynamic naturalism. Though not signed by the artist, it does have a Lu Chi seal, leading to the erroneous conclusion in the past that it was done by him. Although an exceptional work, the style here is not quite the same as that of Lu Chi. This work probably came from the hand of another master painter of the Ming dynasty (1368-1644). Lu Chi, a native of Chekiang, served as a court painter during the Hung-chih era (1488-1505) in the Jen-chih Hall. He held rank in the imperial bodyguard, which provided sinecures for painters.
|
|
內容簡介（中文） |
呂紀（活動於1439-1505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（1488-1505）間被徵值仁智殿，為錦衣衛指揮使。 本幅繪高梁迎風搖曳，雛菊、細草、紅果伴生於側，展現一派盎然秋意；花間并見雙雉啄食，斑文鳥或翔或止。幅上沈周題有七絕一首，或係偽作，惟「呂子觀生都在手」一語，頗能切中廷振以形寫生之心法。
|
|
內容簡介（英文） |
Grasses, Flowers, and Wild Birds Lu Chi (fl. ca. 1439-1505) Ming Dynasty 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 the 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. Stalks of sorghum waver in the wind, swaying over the daisies, grasses, and the red-berried lycium plant which grow below. Within this foliage, full of the feeling of autumn, a pair of pheasants search for food. Above them, nutmeg mannikin flit about the stalks of sorghum. At the top of the painting, there is a poem attributed to Shen Chou (1427-1509), in which a line reads: “Lu’s observation of nature is brought forth through his hands.” This is an apt description of Lu Chi’s visualization and rendering of natural forms.
|
|
參考書目 |
劉芳如，〈明呂紀畫草花野禽 軸〉，收入《來禽圖—翎毛與花果的和諧奏鳴》（臺北：國立故宮博物院，2019.01），頁168-175。
|
