书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢诗塘（左）纸诗塘（右）纸下边幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：养心殿鉴藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鉴玺
收传印记：双螭
收传印记：宣和（微缺）
收传印记：政和（微缺）
收传印记：睿思东阁
收传印记：缉熙殿宝（漫漶微缺）
收传印记：司印（半印）

题跋资料:

题跋类别：题跋；作者：宋徽宗诗塘（左） ；书体：楷书；全文：黄居寀山鹧棘雀图

题跋类别：题跋；作者：清高宗诗塘（右）御题；书体：行书；全文：棘雀爱卑栖。山鹧喜清廓。雀在高棘枝。鹧步低泉壑。图之素绢中。短言识其畧。常闻古人云。君子慎所托。御题。印记：几暇鍳赏之玺、乾隆御笔

题跋类别：题跋；作者：梁诗正下边幅臣梁诗正恭和 斥鷃守藩篱。鹪用鸟俯寥廓。大小随所如。宁湏限邱壑。闲寻逍遥义。雀鹧得其略。瞏羽飞高下间。画手偶然讬。臣梁诗正恭和。

题跋类别：题跋；作者：励宗万下边幅臣励宗万恭和 么禽羽毛族。所志在遐廓。唶唶栖棘丛。钩辀啼涧壑。瞻彼鸾凤群。翱翔逞雄略。振翰乘春风。上林欣有讬。臣励宗万恭和。

题跋类别：题跋；作者：张若霭下边幅臣张若霭恭和 用鸟鸴同一飞。天宇本澄廓。洁露饮朱草。明霞餐黛壑。期不愧鸳鸾。何致哂渠略。高卑慎自处。含毫有深讬。臣张若霭恭和。

主题:

主要主题：山水奇石 主要主题：翎毛山鹧 ；次要主题：翎毛麻雀 ；其他主题：花草荆枝 ；其他主题：树木竹 ；其他主题：山水溪涧、湍泉 ；其他主题：花草 杂草

技法:

工笔 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页641 收藏着录： 故宫书画录（卷五），第三册，页43 参考书目： 1.谭怡令，〈宋黄居寀山鹧棘雀图〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页78-79。2.李玉珉，〈黄居寀山鹧棘雀图〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页175- 177。3.谭怡令，〈国之重宝 — 书画精萃特展〉，《故宫文物月刊》，第19期（1984年10月），页21-22。4.谭怡令，〈宋黄居寀山鹧棘雀〉，《故宫文物月刊》，第100期（1991年7月），页72。5.李玉珉，〈黄家体制的代表作─ 黄居寀〈山鹧棘雀图〉   〉，《故宫文物月刊》，第277期（2006年4月），页32-39。6.江兆申，〈山鹧棘雀、早春与文会(谈故宫三张宋画)〉，《故宫季刊》，第十一卷第四期（1977年夏），页13-21。7.李玉珉，〈宋黄居寀山鹧棘雀图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页254。 内容简介（中文）： 黄居寀（西元九三三年生），字伯鸾，四川成都人。是花鸟画名家黄筌的儿子，因家学的关系，在花鸟画方面有很高的成就。他们父子的作品，在画院中极受推崇， 以致成为画院评画的标准。 画中的鸟鹊与竹石，布满画面，空白很少。设色淳厚无华，描法稳健，略带稚拙之感，有着早期花鸟画的装饰意味，及古朴风韵。 内容简介（中文）： 黄居寀（约933－993以后），四川成都人。字伯鸾，五代花鸟画名家黄筌之子，善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。 此帧采全景、中轴式构图，画溪畔巨石之侧，一只山鹧低头似欲饮水，七只麻雀或栖、或飞。石后的荆棘、蕨、竹的装饰图案意味浓厚，不过画中山鹧专注的神情、麻雀的瞬间动态等，又为此画增添了几许「生趣」。(20061206) 内容简介（中文）： 黄居寀（933－993以后），字伯鸾，四川成都人，是西蜀花鸟画名家黄筌的季子，擅绘画，尤精花竹、翎毛。西蜀亡后，随蜀主降宋，深得太祖、太宗的恩宠眷遇。　本幅设色醇厚，描法稳健。画中荆棘和凤尾蕨的枝叶装饰意趣浓厚，保存了唐代古朴而华美的遗风。不过山鹧全神贯注的神情、麻雀向背俯仰的动态，又都描绘得维妙维肖。全作在唐画所重视的「形似」之外，又反映了宋代花鸟画的写生精神。(20110913) 内容简介（英文）： 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) 内容简介（英文）： Huang Chü-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'üan, 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) 内容简介（英文）： Huang Chü-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'üan. 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. 网页展示说明 黄居寀（西元933－993年以后），为四川成都人。字伯鸾，五代花鸟名家黄筌之子，继承其父双钩填彩的风格。黄筌父子之画且成为宋初图画院比较画艺优劣的标准。此幅中景物有动有静，配合得宜。像山鹧跳到石上，伸颈欲饮溪水的神态，就十分生动。另麻雀或飞、或鸣、或俯视下方，是动的一面；而细竹、凤尾蕨和近景两丛野草，有的朝左，有的朝右，表现出无风时意态舒展的姿态，则都予人从容不迫和宁静的感觉。下方的大石上，山鹧的身体从喙尖到尾端，几乎横贯整个画幅。背景则以巨石土坡，搭配麻雀、荆棘、蕨竹，布满了整个画面。画的重心在于画幅的中间位置，形成近于北宋山水画中轴线的构图方式。而具有图案意味的布局，有着装饰的效果，显示作者有意呈现唐代花鸟画古拙而华美的遗意。(20110913)