參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄(卷八),第四冊,頁78
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收藏著錄 |
故宮書畫圖錄,第七冊,頁205-206
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內容簡介(中文) |
此一近似山水畫之大幅作品,雖傳為呂紀所作,然究其筆墨,非呂氏之真蹟,惟確曾受其畫風之影響。而畫幅上之名款應無誤,故可能是呂紀於宮中為應宮廷所需,而由其作坊內之弟子代筆,再署其名款者。
呂紀(活動於西元一四三九-一五○五年間),浙江鄞縣(今寧波)人。字廷振,號樂愚,一作樂漁。弘治(一四八八-一五○五)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。
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內容簡介(英文) |
This work which looks more like a landscape than a bird-and-flower painting has been attributed to Lu Chi. However, a close inspection of the brushwork will reveal that this painting is not by Lu Chi, but instead by a follower imitating his style. Lu Chi’s signature and seal, however, are authentic. It is quite possible that he signed this work which might have been painted by his assistants in his studio to fulfill commissions.
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.
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參考書目 |
1.譚怡令,〈明呂紀柳塘禽集〉,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106。
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內容簡介(中文) |
本幅的構景方式,與一般花鳥作品不同,以山水為主。上有呂紀名款,接近<雪景翎毛>款字,筆墨也受其影響,但相較之下,仍頗有差距。因此推測可能應宮廷之需,由工作坊內的弟子代筆,呂紀再簽署名款於其上。 (20120105)
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內容簡介(英文) |
The compositional arrangement of this work differs from other bird-and-flower paintings, appearing more like a landscape instead. At the top is a signature for Lu Ji, which looks similar to that on “Snowy Landscape and Birds.” This painting also reflects the influence of Lu Ji’s brushwork, but closer comparison still reveals differences. Consequently, it is postulated that this work may have been a court commission completed by a disciple in Lu Ji’s studio, to which Lu added his signature.(20120105)
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