书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：重华宫鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：乐善堂图书记
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：以善
收传印记：（一印不辨）

题跋资料:

题跋类别：作者款识；作者：吕纪；题跋位置：本幅；款识：吕纪行书

主题:

主要主题：翎毛雁 ；次要主题：花草芦苇 

技法:

写意 

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页803 收藏着录： 故宫书画录（卷五），第三册，页333 收藏着录： 故宫书画图录，第七册，页179-180 参考书目： 1.谭怡令，〈明吕纪芦汀来雁〉，收入谭怡令编，《吕纪花鸟画特展》（台北：国立故宫博物院，1995年初版），页105-106。 内容简介（中文）： 吕纪画风有工笔设色和水墨写意二种。本幅画雁，一飞降，一仰首迎接，四雁结组，颇有呼应。用墨层次，鲜明活泼，于水墨画中是属佳作，但以风格论，无吕纪用笔如风蔌蔌之意。本幅款系后加，右下钤二印，其一「字以善」，是林良字，或出其手，或出其徒，待考。 旧传为吕纪所作。吕纪（活动于西元一四三九─一五０五年间），浙江鄞县（今宁波）人。字廷振，号乐愚，一作乐渔。孝宗弘治（一四八八─一五０五）间值仁智殿，官至锦衣指挥。花鸟初学边文进，后摹唐宋诸名家笔，结合工写，益臻其妙。 内容简介（中文）： 吕纪画风有工笔设色及水墨写意两种。雁鸟一飞降，一仰首，与栖息二雁颇有呼应，用墨鲜明活泼，于水墨画中是属佳作，但以风格论，无吕纪用笔如风蔌蔌之意。本幅款系后加，右下钤二印，其一「字以善」，是林良字，可能就是林良所画。吕纪（活动于西元一四三九－一五○五年间），浙江鄞县（今宁波）人。字廷振，号乐愚。弘治（一四八八－一五○五）间为宫廷画家，官至锦衣指挥使。 内容简介（中文）： 吕纪（活动于西元一四七七－一四九七年间），浙江鄞县人。字廷振，号乐愚，一作乐渔。花鸟初学边文进，后摹唐宋诸名家笔，始臻其妙。弘治（西元一四八八－一五○五年）间被征值仁智殿，为锦衣卫指挥使。 秋雁两双，飞鸣栖息于苇塘沼泥之中。通幅为墨画，水墨具足，行笔草草而意态若生。其款虽为吕纪，幅左下却有「字以善」一印，以善为林良之字号，本幅画风亦近之。 内容简介（英文）： Wild Geese Gathering on an Islet Lü Chi (fl. ca. 1477-1497) Ming Dynasty Lü Chi, style name T’ing-chen, sobriquet Yao-yü, was a native of Yin County, Chekiang. In the genre of flower and bird painting, Lü initially studied the works of the early Ming dynasty painter, Pien Wen-chin. He later emulated the works of the T’ang (618-907) and the Sung (960-1279) masters. He eventually became one of the greatest painters of birds and flowers of the Ming dynasty. During the Hung-chih era (1488-1505), he was summoned to serve in the Hall of Benevolent Wisdom (Jen-chih Tien) in the imperial court. Lü served as a commander in the Imperial Bodyguard, a military unit that also provided sinecures for court painters. In this scene, two pairs of geese have alighted on the autumnal reeds of a swampy islet to rest. The entire work was painted in monochrome ink with a damp and expressive brush, with which Lü imparted the essence of liveliness. Although the signature reads “Lü Chi,” however, in the lower left corner of the painting there is a seal which reads “Tzu I-shan.” “I-shan” is Lin Liang’s style name, and the style of this painting is also very close to the way Lin Liang paints. 内容简介（英文）： Wild Geese Gathering on an Islet Lü Chi (fl. 1439-1505) Ming Dynasty Lü Chi was known for two styles of painting; a fine style with colors and a sketchy type in monochrome ink. In this example of the latter, three wild geese gather by autumnal reeds on a swampy islet as a fourth approaches from above. The one looking up appears to communicate with the one about to land. The rich layers of ink are lively, making this an excellent example of monochrome ink painting. However, in terms of style, it does not reveal the bravura for which Lü Chi was known. The signature in the upper left is a later addition, while one of the seals in the lower left belongs to that of Lin Liang, indicating it may have been painted by him instead. Lü Chi, a native of Chekiang, served as a court painter in the Hung-chih era (1488-1505). 内容简介（英文）： Wild Geese Gathering on an Islet Lü Chi (act. ca. 1439-1505) Ming Dynasty In this scene, the artist has conveyed a sense of interaction: one goose descends as another raises its head welcoming its companion. Though this is an excellent painting in monochrome ink which was used in a lively manner, the brushwork shows of the free and sometimes unconnected movement characteristic of Lü Chi’s style. The signature was added at a later date, and one of the two seals in the lower left corner reads “Tzu I-shan,” the style name of Lin Liang. Attribution will thus have to await furthur research. Lü Chi (style name T’ing-chen, sobriquet Yao-yü) 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.