基本資料 藏品類型 繪畫
文物統一編號 故畫002981N000000000 抽盤點紀錄 修護紀錄
作品號 故畫00298100000
品名 明呂紀荷渚睡鳧 軸
分類 繪畫
作者 呂紀
數量 一軸

典藏尺寸 【位置】 【尺寸】(公分)
本幅 174.5x104.2

質地 【質地位置】 【質地】
本幅

題跋資料 【題跋類別】 【作者】 【位置】 【款識】 【書體】 【全文】
作者款識 呂紀 本幅 呂紀 行楷書
印記: 四明呂廷振印

印記資料 【印記類別】 【印記】
鑑藏寶璽 乾隆御覽之寶
鑑藏寶璽 宣統御覽之寶
鑑藏寶璽 嘉慶御覽之寶
鑑藏寶璽 養心殿鑑藏寶
鑑藏寶璽 石渠寶笈

主題 【主題類別】 【主題(第一層)】 【主題(第二層)】 【主題說明】
主要主題 山水 夜景(月景)
次要主題 花草 蓮荷 葉、蓮蓬
次要主題 花草 蘆葦
主要主題 翎毛 鴨.鳧 鳧四隻
次要主題 翎毛 鶺鴒
次要主題 山水 溪澗、湍泉

技法 【技法】 【技法細目】
寫意
沒骨

參考資料 【類別】 【參考資料】
收藏著錄 石渠寶笈初編(養心殿),上冊,頁661
收藏著錄 故宮書畫錄(卷八),第四冊,頁78
收藏著錄 故宮書畫圖錄,第七冊,頁207-208
內容簡介(中文) 月夜時分,嵐霧淒迷,蘆葦、荷葉隱現其間,洲渚上棲息大雁四隻。構圖上只有近、中景,遠景則多省略不繪。本幅雖有呂紀名款,然有存疑之處,且通幅之筆力較為薄弱,當非呂氏之原蹟。但其景物佈置與氣氛營造與另一張本院收藏呂紀「秋渚水禽」頗為接近,故此應為一相當忠實於呂氏風格之仿作,可從此畫中一窺呂紀寫意風格的面貌。 呂紀(活動於西元一四三九-一五0五年間),浙江寧波人。字廷振,號樂愚,亦作樂漁。呂紀為明代中葉著名的宮廷花鳥畫家,孝宗弘治(西元一四八八-一五0五年)間值仁智殿,官至錦衣衛指揮。花鳥初學邊文進(活動於一四0三-一四二八),後摹仿唐宋諸名家,結合工筆、寫意法,呈現出多種面貌,頗具個人特色
內容簡介(英文) On a moonlit night in thick fog, four geese rest on a sand bar amidst lotuses and rushes. The composition only includes the foreground and middleground, and the background has been omitted. This work bears the signature of Lu Chi, but the authenticity is in question due to the weakness of the brushwork, which does not match that of his other paintings. The position of each part and the atmosphere here is similar to those in another work by Lu in the Museum entitled “Waterfowl on an Autumn Islet”. Thus, the painting here probably reflects a faithful imitation of Lu’s style, which nonetheless provides a glimpse of his “sketching ideas” manner. Lu Chi, a native of Chekiang, initially studied the bird-and-flower style of the early Ming painter Pien Wen-chin (fl. 1403-1428). He later followed the manners of the old masters, eventually becoming a master in his own right. By combining the fine-line and “sketching ideas” techniques, he was able to create a multifaceted style all his own. In the Hung-chih era (1488-1505), Lu Chi served as a court painter at the Jen-chih Hall and was also provided with a sinecure post in the Imperial Bodyguard.
內容簡介(中文)   呂紀(活動於西元一四三九-一五○五年間),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。弘治(一四八八-一五○五)年間被徵值仁智殿,為錦衣衛指揮使。月夜時分,嵐霧淒迷,蘆葦、荷葉隱現其間,洲渚上棲息大雁四隻。此幅各景物佈置與氣氛之營造,類似院藏呂紀「秋渚水禽」,然所呈現較寫意筆法卻不及之,疑是後人仿其意而作。
內容簡介(英文) Ducks Sleeping on a Lotus Bank Lu Chi (fl. ca. 1439-1505) Ming Dynasty Lu Chi, a native of Chekiang, initially studied the bird-and-flower style of the early Ming painter Pien Wen-chin. He later followed the old masters, eventually becoming a master in the subject. In the Hung-chih era (1488-1505), he served as a court painter and was also provided with a sinecure post. On a moonlit night in thick fog, four geese rest on a sand bar amidst lotuses and rushes. The position of each part and the atmosphere here is similar to those in another work by Lu in the Museum entitled Waterfowl on an Autumn Islet. However, the brushwork here lacks the sureness and resonance of Lu Chi’s mature brushwork, and the painting here thus might be by a later artist imitating Lu’s style.
參考書目 1.譚怡令,〈明呂紀荷渚睡鳧〉,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。