书体:

色彩:

设色

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：御书房鑑藏宝
鑑藏宝玺：石渠继鑑
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：吴彬；题跋位置：本幅；款识：吴彬；书体：楷书；全文： 印记：吴彬之印、文中氏、吴氏文中、吴彬之印

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：癸未仲春御题；书体：行书；全文：一树秾华照碧江。落梅五月不同腔。彩鸳齐上横枝立。为爱花皆并蒂双。癸未仲春御题。印记：干、隆题籤清高宗    印记：乾隆宸翰

主题:

主要主题：翎毛鸳鸯二只；次要主题：花草杏花 

技法:

工笔 写意 苔点 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1133 收藏着录： 故宫书画录（卷五），第三册，页446 收藏着录： 故宫书画图录，第八册，页281-282 参考书目： 1.〈明吴彬文杏双禽〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页272。2.〈明吴彬文杏双禽图〉，收入国立故宫博物院编，《晚明变形主义画家作品展》（台北：国立故宫博物院，1977年九月初版），页218。3.陈韵如；〈明吴彬文杏双禽图　轴〉，收入何传馨主编，《状奇怪非人间　吴彬的绘画世界》（台北：国立故宫博物院，2012年十月初版），页164-167。 内容简介（中文）： 吴彬（活动于西元十六世纪中期），莆田人，流寓金陵，字文仲，一作文中。万历间以书画擅名，所作人物花鸟山水，皆一意创新，不为古人所囿，往往出奇以自立门户。 此幅画老杏横枝双鸳鸯并立其上，鸳鸯本为水鸟，故甚少画作栖枝之景。一枝上挑中折，即在折断处署吴彬二字款，下钤双印，布置富奇趣。通幅笔墨傅彩，皆甚古厚，而又自饶新意。 内容简介（中文）： 此轴画杏树老枝粗干横出，一对鸳鸯相互依偎并立枝上。树干空蚀却有繁茂花朵，老枝悬空、细枝上挑，树梢皆突如折枝，布局画意均奇特。吴彬就于一上挑细枝的折断处题款钤印，显示他对物象造型、构图布置的十足创意。吴彬曾参与晚明版画制作，对画面之安排有更多发挥。(20121018) 内容简介（英文）： This hanging scroll depicts the branch of an old apricot tree descending into the composition with a pair of mandarin ducks standing cuddled upon it. The short offshoots of the suspended branch are filled with blossoms, springing forth with life to make for an interesting arrangement. Wu Bin added his seal and signature on the broken stem of one of the offshoots, demonstrating great originality when it comes to the forms of objects and their arrangement. Wu Bin at one time also worked in the field of illustrated woodblock prints, demonstrating considerable skill in presenting objects within a composition.(20121018) 内容简介（英文）： Wu Pin was a native of P’u-ti’en but later moved to Nanking. His style name was Wen-chung. During the Wan-li reign (1573-1620), he gained fame for his painting and calligraphy. His landscapes, birds, flowers and figures all contained a distinctly original quality quite different from that of his predecessors. This work presents two mandarin ducks perched on a branch of an old apricot. Ordinarily, as water fowl, mandarin ducks are seldom depicted on dry land, let alone on a flowering branch. Wu Pin’s choice of the subject seems to increase the curious quality of his style. The use of brush, ink and color are antique and substantial, making the whole painting a novel contribution to Chinese art. On the severed branch is Wu Pin’s signature followed by two seals.