| 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1021-1022
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁40
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收藏著錄 |
故宮書畫圖錄，第十八冊，頁99-104
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內容簡介（中文） |
邊文進，生卒年不詳，福建沙縣人。字景昭，永樂（西元一四０三－一四二四年）間召至京師，授武英殿待詔，宣德（西元一四二六－一四三五年）間仍供事內殿。博學能詩，善畫花果翎毛，為其後呂紀等人師法的匠師。
畫鶴一百三十六隻，舉凡飛者、鳴者、啄者、鬥者、泳者、無一種不具，亦無一種不佳。他如雲水松蕉樹石諸物，並皆應物象形，筆意雅健，自非斲輪老手莫能辦。惟筆墨與邊景昭不類。款字與項元汴印，皆後人所增。
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內容簡介（英文） |
Pien Wen-chin, style name Ching-chao, was a native of Sha county, Fukien. Although the dates of his birth and death are unknown, it is known that he was summoned to the capital during the Yung-lo era (1403-1424), where he served as Painter-in-Attendance at the Wu-ying Hall. During the reign of the Hsuan-te emperor (r. 1426-1435), he performed various duties in the Inner Court. A talented poet of wide learning, he also excelled at painting flowers, fruits, and birds. He was the master painter whose style was emulated by Lu Chi and other later artists.
This handscroll depicts 136 white cranes, some flying, some calling, some preening, some swimming, and some fighting. All are beautifully painted. The landscape details are also carefully executed. While the elegant, vigorous brushwork presupposes many years of experience, the use of brush and ink does not resemble Pien Wen-chin’s style. The signature and seals of the Ch’ing dynasty collector Hsiang Yuan-pien (1525-1590) are later additions.
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內容簡介（中文） |
邊文進，生卒年不詳，福建沙縣人。字景昭，永樂（西元一四０三－一四二四年）間召至京師，授武英殿待詔，宣德（西元一四二六－一四三五年）間仍供事內殿。博學能詩，善畫花果翎毛，為其後花鳥名家師法。畫鶴一百三十六隻，舉凡飛者、鳴者、啄者、鬥者、泳者等等。他如雲水松蕉樹石諸物，並皆應物象形，筆意雅健，自非斲輪老手莫能辦。惟筆墨與邊景昭不類。款字與項元汴印，皆後人所增。(20120407)
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內容簡介（英文） |
Bian Wenjin, native to Shaxian in Fujian, had the style name Jingzhao. Called to the capital under Yongle (1403-1424), he was a Painter-in-Attendance at Wuying Palace. In the Xuande reign (1426-1435), he still served at court. Widely studied and a fine poet, he excelled at painting flowers and fruits as well as birds, his style emulated by later bird-and-flower masters. This handscroll depicts 136 cranes, some flying as others call, preen, swim, and fight. All motifs, such as clouds, water, pines, banana trees, and rocks, follow their respective forms. Though the elegant yet vigorous brushwork reveals years of experience, the styles does not resemble Bian’s style. The seals and signature of the Ming collector Xiang Yuanbian are also later additions.(20120407)
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參考書目 |
1.盧素芬，〈蒼松上的仙侶─從〈胎仙圖〉談浙、吳兩派的交會〉，《故宮文物月刊》，第350期（2012年5月），頁78-87。
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