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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652
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁334
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收藏著錄 |
故宮書畫圖錄，第七冊，頁181-182
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參考書目 |
1.譚怡令，〈明呂紀寒雪山雞〉，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104。
2.譚怡令，〈明呂紀寒雪山鷄圖〉，收入譚怡令編，《畫?珍禽》（臺北：國立故宮博物院，1988年十月初版），頁97。
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內容簡介（中文） |
呂紀（活動於1439-1505年間），浙江鄞縣（今寧波）人。字廷振，號樂愚，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，後摹唐宋諸名家筆，結合工寫，益臻其妙。 呂氏為明代宮廷畫家，其畫風向以工筆者為多，然本幅卻屬其少見的寫意風格作品。通幅用逸筆，看似快速，實則穩健而不草率。而院藏其「秋鷺芙蓉」圖雖為一工筆之作，兩者中細枝的用筆，卻同樣有著筆斷意連的感覺。 此圖繪天寒地凍之時，山雞獨踞巖上，昂首翹望，似有所待。作者為描寫這份冰雪茫茫的氣氛，用淡墨把天地都染黑，而讓樹上、巖上露白，以表積雪，並與右下角那道白亮蜿蜒的流水，互相迸發出凜冽的寒氣。再加上蕭條的藤蘿和神情索漠的山雞，令人覺得天地之間一片孤寒，是難得的佳作之一。
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內容簡介（中文） |
呂紀（活動於1439-1505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，後摹唐宋諸名家筆，結合工寫，益臻其妙。 本幅描繪天寒地凍，山雞獨踞巖上，昂首翹望，似有所待。為描寫冰雪茫茫的氣氛，畫家用淡墨把天地都染黑，而讓樹上巖上露白，表示積雪，與右下角那道白亮而蜿蜒的流水，互相迸發出凜冽的寒氣，加上蕭條的藤蘿和神情索漠的山雞，令人覺得天地之間一片孤寒。
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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. He combined detailed, meticulous brushwork (kung-pi) with expressive “sketching of ideas” (hsieh-i) and achieved wonderful results. In a wintry scene under a cold sky, a solitary wild pheasant crouches on a rocky cliff, looking up expectantly. In order to create the feeling of a deep chill in a snowy vastness, Lu Chi painted the earth and sky with pale ink washes and intentionally left some areas unpainted to represent accumulated snow. A glistening white stream winding its way through the lower right of the composition evokes yet another kind of icy coldness. The straggly wisteria vines and the motionless form of the pheasant also contribute to the sense of wintry desolation.
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內容簡介（中文） |
呂紀（約活動於1439-1505年間），鄞（今浙江寧波）人。字廷振，號樂愚。官至錦衣衛指揮。花鳥初學邊文進，後摹唐宋諸名家筆，結合工寫，益臻其妙。
本幅繪天寒地凍，山雞獨踞巖上，昂首翹望，似有所待。為描寫冰雪茫茫的氣氛，畫家用淡墨漬染天地，讓樹上、巖上露白，以示積雪，與右下角那道白亮而蜿蜒的流水，迸發出凜冽的寒氣，加上蕭條的藤蘿和神情索漠的山雞，令人覺得天地之間一片孤寒。
(20110913)
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內容簡介（英文） |
Lu Ji (style name Tingzhen, sobriquet Leyu) was a native of Yin (modern Ningbo, Zhejiang). He held the rank of a commander in the Imperial Bodyguard, a military unit also providing sinecures for court painters. In bird-and-flower painting, he initially studied the works of Bian Wenjin and later emulated the paintings of famous Tang and Song dynasty artists. He combined fine brushwork with an expressive “sketching-ideas” manner to achieve marvelous results.
In a wintry scene under a cold sky, a solitary wild pheasant crouches on a rocky cliff, looking up expectantly. To create the feeling of a deep chill in a snowy vastness, Lu Ji painted the earth and sky with pale ink washes and intentionally left some areas unpainted to represent accumulated snow. A glistening white stream winding its way through the lower right of the composition evokes yet a further sense of icy coldness. The straggly wisteria vines and motionless form of the pheasant also contribute to the sense of wintry desolation.
(20110913)
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參考書目 |
童文娥，〈明呂紀寒雪山雞圖 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208-213。
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