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【參考資料】 |
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收藏著錄 |
石渠寶笈初編（重華宮），下冊，頁803
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁332
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收藏著錄 |
故宮書畫圖錄，第七冊，頁175-176
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參考書目 |
1.譚怡令，〈明呂紀秋鷺芙蓉〉，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101。
2.〈明呂紀秋鷺芙蓉圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁177。
3.譚怡令，〈秋鷺芙蓉〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁208。
4.譚怡令，〈明呂紀秋鷺芙蓉〉，《故宮文物月刊》，第300期（2008年3月），頁41。
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內容簡介（中文） |
呂紀（活動於西元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。 本幅為呂紀典型之代表作。白鷺、鶺鴒、芙蓉、柳與荷，是經常出現於其繪畫中的題材；畫大型禽鳥白鷺立前坡石上，柳樹之橫跨畫面和枝上的較小型山雀，則是構景上常見的安排。而線條上更見呂氏畫花鳥均勻、流暢卻不至硬挺；畫樹石有起落變化、時不相連貫之用筆。
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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 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. On the banks of a lily pond, a willow sways, and hibiscus and rushes also dance in the light breeze. Near the willow branches two egrets soar calling out while a third standing by the pond answers back. The composition is very lifelike, and the interaction among egrets seems most credible.
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內容簡介（中文） |
呂紀（活動於西元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。 荷池畔，柳樹迎風，芙蓉、殘荷也隨著輕舞，柳梢有兩隻白鷺，乘風飛翔而來，池邊的白鷺，回首鳴叫，相與呼應，構成生動且富有動態美的畫面。
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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. This painting represents a typical work by Lu Chi; egrets, wagtails, hibiscus, a willow tree, and lotuses are elements which often appear in his paintings. This kind of arrangement consisting of a large-scale egret standing on a rocky bank, willow tree branches spreading across the painting, and small titmice perched on branches is a common compositional scheme. In terms of technique, the smooth, fluid brushstrokes devoid of any stiffness for the birds and flowers as well as the varied brushwork in the trees and rocks where a brushline is sometimes intentionally interrupted and then continued are all characteristics of Lu Chi.
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網頁展示說明 |
秋日粉色芙蓉盛開，綠柳搖曳，搭配白鷺，展現明媚秋色。構圖上，有大型禽鳥如白鷺立於前景坡石，主要樹木如柳枝斜跨畫面，上棲較小型雀鳥，為呂紀常見的構景方式。幅中花鳥用筆均勻流暢，不硬挺；樹石有起落變化，間有斷續感；色澤明麗淳厚，為呂紀宮廷系列富麗面貌的代表。(20120105)
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網頁展示說明 |
Pink hibiscuses in full bloom on an autumn day appear on the bank of a lily pond as a willow sways in the breeze. With the white egrets, the scene expresses a radiantly beautiful and colorful autumn. In terms of composition, a large waterfowl (white egret) stands on the foreground slope, while the main tree (willow) extends diagonally into the scenery. Perched in the tree are smaller birds (tits), thereby completing a compositional format frequently seen in Lu Ji's paintings. The bird-and-flower motifs in this work are all done with brushwork of even and fluid lines without any stiffness. The brushwork in the tree and rock motifs rises and falls with variation, having both interruption and continuity. The hues are bright and beautifully straightforward, making this a representative example of Lu Ji’s sumptuous court style.(20120105)
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網頁展示說明 |
秋の日に咲き誇る薄紅色の芙蓉、風に搖れる青々とした柳の葉、それらの傍らに配されたシラサギ─麗しい秋の風景が描かれている。前景の岩石の上に立つ大きなシラサギ、畫面を斜めに横切る柳の枝にとまる小さなスズメなど、呂紀の作品によく見られる構図となっている。花鳥の用筆は等しくなめらかで硬さがない。樹木と岩石の描き方には高低の変化があり、その間は断続的になっている。素朴でありながら明るく美しい色彩など、呂紀の華麗な宮廷絵畫を代表する作品である。(20120105)
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參考書目 |
童文娥，〈明呂紀秋鷺芙蓉圖 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182-191。
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