【類別】 | 【參考資料】 |
收藏著錄
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石渠寶笈初編(養心殿),上冊,頁641
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收藏著錄
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故宮書畫錄(卷五),第三冊,頁43
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參考書目
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1.譚怡令,〈宋黃居寀山鷓棘雀圖〉,收入王耀庭、許郭璜、陳階晉編,《故宮書畫菁華特輯》(臺北:國立故宮博物院,1987年初版,2001年再版),頁78-79。
2.李玉珉,〈宋黃居寀山鷓棘雀圖 軸〉,收入林柏亭主編,《大觀-北宋書畫特展》(臺北:國立故宮博物院,2006年初版一刷),頁172-177。
3.譚怡令,〈國之重寶 — 書畫精萃特展〉,《故宮文物月刊》,第19期(1984年10月),頁21-22。
4.譚怡令,〈宋黃居寀山鷓棘雀〉,《故宮文物月刊》,第100期(1991年7月),頁72。
5.李玉珉,〈黃家體製的代表作─ 黃居寀〈山鷓棘雀圖〉 〉,《故宮文物月刊》,第277期(2006年4月),頁32-39。
6.江兆申,〈山鷓棘雀、早春與文會(談故宮三張宋畫)〉,《故宮季刊》,第十一卷第四期(1977年夏),頁13-21。
7.李玉珉,〈宋黃居寀山鷓棘雀圖〉,收入蔡玫芬主編,《精彩一百 國寶總動員》(臺北:國立故宮博物院,2011年九月初版一刷),頁254。
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參考書目
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國立故宮博物院編輯委員會,〈宋黃居寀山鷓棘雀圖 軸〉,收入《故宮書畫菁華特輯》(臺北:國立故宮博物院,1996.10),頁78-79。
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內容簡介(中文)
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黃居寀(西元九三三年生),字伯鸞,四川成都人。是花鳥畫名家黃筌的兒子,因家學的關係,在花鳥畫方面有很高的成就。他們父子的作品,在畫院中極受推崇, 以致成為畫院評畫的標準。 畫中的鳥鵲與竹石,布滿畫面,空白很少。設色淳厚無華,描法穩健,略帶稚拙之感,有著早期花鳥畫的裝飾意味,及古樸風韻。
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內容簡介(中文)
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黃居寀(約933-993以後),四川成都人。字伯鸞,五代花鳥畫名家黃筌之子,善畫花竹、翎毛,為西蜀翰林待詔。蜀亡入宋,得宋太宗禮遇,黃家畫法遂成宋初畫院評畫的標準。 此幀採全景、中軸式構圖,畫溪畔巨石之側,一隻山鷓低頭似欲飲水,七隻麻雀或棲、或飛。石後的荊棘、蕨、竹的裝飾圖案意味濃厚,不過畫中山鷓專注的神情、麻雀的瞬間動態等,又為此畫增添了幾許「生趣」。(20061206)
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內容簡介(中文)
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黃居寀(933-993以後),字伯鸞,四川成都人,是西蜀花鳥畫名家黃筌的季子,擅繪畫,尤精花竹、翎毛。西蜀亡後,隨蜀主降宋,深得太祖、太宗的恩寵眷遇。
本幅設色醇厚,描法穩健。畫中荊棘和鳳尾蕨的枝葉裝飾意趣濃厚,保存了唐代古樸而華美的遺風。不過山鷓全神貫注的神情、麻雀向背俯仰的動態,又都描繪得維妙維肖。全作在唐畫所重視的「形似」之外,又反映了宋代花鳥畫的寫生精神。
(20110913)
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內容簡介(英文)
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Huang Jucai (style name Boluan), a native of Chengdu in Sichuan, was the youngest son of the famous Western Shu bird-and-flower painter Huang Quan. Specializing in painting, he was especially gifted at flowers and bamboo as well as birds and other animals. After the fall of the Western Shu, he followed the Shu ruler in surrendering to the Song, being much admired and rewarded by the early Song emperors Taizu and Taizong.
In this painting, the colors are simple and straightforward, while the method of rendering is firm and steady. The branches and stems of the thorny shrubs and phoenix-tail ferns are decorative with a pronounced manner preserving traces of the simple archaism and opulent beauty from the Tang dynasty. Furthermore, the spirit of absolute concentration on the part of the magpie and the twisting poses of the sparrows have all been captured remarkably true to life. Besides the emphasis on “formal likeness” found in Tang painting, this work also reflects the spirit of “sketching from life” in Song dynasty bird-and-flower painting.
(20110913)
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內容簡介(英文)
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Huang Chu-ts'ai was a native of Ch'eng-tu in Szechwan who went by the style name Po-luan. Son of the famous Five Dynasties bird-and-flower painter Huang Ch'uan, he excelled at painting flowers-and-bamboo as well as birds-and-animals, formerly being a Painter-in-Attendance at the Hanlin Academy of the Western Shu court. After the Shu fell, he joined the Sung and was received by the Sung emperor T'ai-tsung, the Huang family style of painting gradually becoming the standard for judging works in this genre in the Imperial Painting Academy of the early Sung. This hanging scroll is a full-scene, centralized composition depicting a scene by the side of a large rock next to a stream. A blue magpie bends over as if about to drink some water as seven sparrows are shown flying or perched about. The decorative manner of the thorny shrubs, ferns, and bamboo behind the rock is quite strong, but the spirited concentration of the magpie and fleeting movements of the sparrows captured in this work imbue it with considerable “interest in life”.(20061206)
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內容簡介(英文)
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Huang Chu-ts'ai, whose style name was Po-luan, was born in 933. He was a native of Chengtu, Szechwan and the son of the famous bird and flower painter Huang Ch'uan. Thus, from his studies within the family he became particularly accomplished in this genre. The work of the two Huangs were much admired in the painting academy and became the standard by which others were judged. In this painting the birds, rocks and bamboo fill the whole area leaving little empty space. The colors are applied with fullness, but avoid facile prettiness, and the descriptive technique is firm and strong with a slightly naive quality. This work has the simple and antique flavor of the bird and flower paintings of the early periods.
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網頁展示說明
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黃居寀(西元933-993年以後),為四川成都人。字伯鸞,五代花鳥名家黃筌之子,繼承其父雙鉤填彩的風格。黃筌父子之畫且成為宋初圖畫院比較畫藝優劣的標準。
此幅中景物有動有靜,配合得宜。像山鷓跳到石上,伸頸欲飲溪水的神態,就十分生動。另麻雀或飛、或鳴、或俯視下方,是動的一面;而細竹、鳳尾蕨和近景兩叢野草,有的朝左,有的朝右,表現出無風時意態舒展的姿態,則都予人從容不迫和寧靜的感覺。下方的大石上,山鷓的身體從喙尖到尾端,幾乎橫貫整個畫幅。背景則以巨石土坡,搭配麻雀、荊棘、蕨竹,布滿了整個畫面。畫的重心在於畫幅的中間位置,形成近於北宋山水畫中軸線的構圖方式。而具有圖案意味的佈局,有著裝飾的效果,顯示作者有意呈現唐代花鳥畫古拙而華美的遺意。
(20110913)
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