參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈初編(御書房),下冊,頁1133
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收藏著錄 |
故宮書畫錄(卷五),第三冊,頁446
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收藏著錄 |
故宮書畫圖錄,第八冊,頁281-282
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參考書目 |
1.〈明吳彬文杏雙禽〉,收入國立故宮博物院編輯委員會編,《名寶上珍》(臺北:國立故宮博物院,1995年初版一刷),頁272。
2.〈明吳彬文杏雙禽圖〉,收入國立故宮博物院編,《晚明變形主義畫家作品展》(臺北:國立故宮博物院,1977年九月初版),頁218。
3.陳韻如;〈明吳彬文杏雙禽圖 軸〉,收入何傳馨主編,《狀奇怪非人間 吳彬的繪畫世界》(臺北:國立故宮博物院,2012年十月初版),頁164-167。
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內容簡介(中文) |
吳彬(活動於西元十六世紀中期),莆田人,流寓金陵,字文仲,一作文中。萬曆間以書畫擅名,所作人物花鳥山水,皆一意創新,不為古人所囿,往往出奇以自立門戶。 此幅畫老杏橫枝雙鴛鴦並立其上,鴛鴦本為水鳥,故甚少畫作棲枝之景。一枝上挑中折,即在折斷處署吳彬二字款,下鈐雙印,佈置富奇趣。通幅筆墨傅彩,皆甚古厚,而又自饒新意。
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內容簡介(英文) |
Wu Pin was a native of P’u-ti’en but later moved to Nanking. His style name was Wen-chung. During the Wan-li reign (1573-1620), he gained fame for his painting and calligraphy. His landscapes, birds, flowers and figures all contained a distinctly original quality quite different from that of his predecessors. This work presents two mandarin ducks perched on a branch of an old apricot. Ordinarily, as water fowl, mandarin ducks are seldom depicted on dry land, let alone on a flowering branch. Wu Pin’s choice of the subject seems to increase the curious quality of his style. The use of brush, ink and color are antique and substantial, making the whole painting a novel contribution to Chinese art. On the severed branch is Wu Pin’s signature followed by two seals.
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內容簡介(中文) |
此軸畫杏樹老枝粗幹橫出,一對鴛鴦相互依偎並立枝上。樹幹空蝕卻有繁茂花朵,老枝懸空、細枝上挑,樹梢皆突如折枝,布局畫意均奇特。吳彬就於一上挑細枝的折斷處題款鈐印,顯示他對物象造型、構圖布置的十足創意。吳彬曾參與晚明版畫製作,對畫面之安排有更多發揮。
(20121018)
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內容簡介(英文) |
This hanging scroll depicts the branch of an old apricot tree descending into the composition with a pair of mandarin ducks standing cuddled upon it. The short offshoots of the suspended branch are filled with blossoms, springing forth with life to make for an interesting arrangement. Wu Bin added his seal and signature on the broken stem of one of the offshoots, demonstrating great originality when it comes to the forms of objects and their arrangement. Wu Bin at one time also worked in the field of illustrated woodblock prints, demonstrating considerable skill in presenting objects within a composition.
(20121018)
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參考書目 |
劉芳如,〈明吳彬文杏雙禽圖 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182-187。
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參考書目 |
何傳馨,〈明吳彬文杏雙禽圖 軸〉,收入《狀奇怪非人間-吳彬的繪畫世界》(臺北:國立故宮博物院,2012.10),頁164-167、220。
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