书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

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：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：见阳图书

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；书体：行书；全文： 印记：四明吕廷振印

主题:

主要主题：山水冬景（雪景）雪景主要主题：翎毛雉（锦鸡．雉类）１只；次要主题：树木寒林．枯树枯树；其他主题：花草藤萝 ；其他主题：树木竹 ；其他主题：山水溪涧、湍泉溪涧

技法:

写意 没骨 皴法斧劈皴苔点 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页652 收藏着录： 故宫书画录（卷五），第三册，页334 收藏着录： 故宫书画图录，第七册，页181-182 参考书目： 1.谭怡令，〈明吕纪寒雪山鸡〉，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104。2.谭怡令，〈明吕纪寒雪山鸡图〉，收入谭怡令编，《画?珍禽》（台北：国立故宫博物院，1988年十月初版），页97。 内容简介（中文）： 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，作乐渔。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。 吕氏为明代宫廷画家，其画风向以工笔者为多，然本幅却属其少见的写意风格作品。通幅用逸笔，看似快速，实则稳健而不草率。而院藏其「秋鹭芙蓉」图虽为一工笔之作，两者中细枝的用笔，却同样有着笔断意连的感觉。 此图绘天寒地冻之时，山鸡独踞巖上，昂首翘望，似有所待。作者为描写这份冰雪茫茫的气氛，用淡墨把天地都染黑，而让树上、巖上露白，以表积雪，并与右下角那道白亮蜿蜒的流水，互相迸发出凛冽的寒气。再加上萧条的藤萝和神情索漠的山鸡，令人觉得天地之间一片孤寒，是难得的佳作之一。 内容简介（中文）： 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，一作乐渔。弘治（一四八八－一五○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。 本幅描绘天寒地冻，山鸡独踞巖上，昂首翘望，似有所待。为描写冰雪茫茫的气氛，画家用淡墨把天地都染黑，而让树上巖上露白，表示积雪，与右下角那道白亮而蜿蜒的流水，互相迸发出凛冽的寒气，加上萧条的藤萝和神情索漠的山鸡，令人觉得天地之间一片孤寒。 内容简介（中文）： 吕纪（约1429－1505），鄞（今浙江宁波）人。字廷振，号乐愚。官至锦衣卫指挥。花鸟初学边文进，后摹唐宋诸名家笔，结合工写，益臻其妙。本幅绘天寒地冻，山鸡独踞巖上，昂首翘望，似有所待。为描写冰雪茫茫的气氛，画家用淡墨渍染天地，让树上、巖上露白，以示积雪，与右下角那道白亮而蜿蜒的流水，迸发出凛冽的寒气，加上萧条的藤萝和神情索漠的山鸡，令人觉得天地之间一片孤寒。(20110913) 内容简介（英文）： Lü Ji (style name Tingzhen, sobriquet Leyu) was a native of Yin (modern Ningbo, Zhejiang). He held the rank of a commander in the Imperial Bodyguard, a military unit also providing sinecures for court painters. In bird-and-flower painting, he initially studied the works of Bian Wenjin and later emulated the paintings of famous Tang and Song dynasty artists. He combined fine brushwork with an expressive “sketching-ideas” manner to achieve marvelous results. In a wintry scene under a cold sky, a solitary wild pheasant crouches on a rocky cliff, looking up expectantly. To create the feeling of a deep chill in a snowy vastness, Lü Ji painted the earth and sky with pale ink washes and intentionally left some areas unpainted to represent accumulated snow. A glistening white stream winding its way through the lower right of the composition evokes yet a further sense of icy coldness. The straggly wisteria vines and motionless form of the pheasant also contribute to the sense of wintry desolation.(20110913) 内容简介（英文）： 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. In a wintry scene under a cold sky, a solitary wild pheasant crouches on a rocky cliff, looking up expectantly. In order to create the feeling of a deep chill in a snowy vastness, Lü Chi painted the earth and sky with pale ink washes and intentionally left some areas unpainted to represent accumulated snow. A glistening white stream winding its way through the lower right of the composition evokes yet another kind of icy coldness. The straggly wisteria vines and the motionless form of the pheasant also contribute to the sense of wintry desolation.