书体:

色彩:

设色

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：宣统鑑赏之宝
收传印记：宣和殿宝
收传印记：司印（半印）
收传印记：晋国奎章
收传印记：晋府图书之印
收传印记：清河珍玩
收传印记：乾坤清玩
收传印记：敬德堂图书印

题跋资料:

主题:

主要主题：树木竹 主要主题：翎毛雉（锦鸡．雉类）雉主要主题：翎毛山雀山鸟（黑脸噪眉鸟）；其他主题：花草枸杞 

技法:

工笔 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页153-154 收藏着录： 故宫书画图录，第三册，页137-138 收藏着录： 国宝再现-书画菁华特展，页172-179，257 参考书目： 1.谭怡令，〈宋人翠竹翎毛〉，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166-167。2.谭怡令，〈宋人翠竹翎毛〉，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87-88。3.谭怡令，〈书画菁华特展 — 宋人翠竹翎毛〉，《故宫文物月刊》，第163期（1996年10月），页49。4.谭怡令，〈宋人翠竹翎毛〉，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286。 内容简介（中文）： 寒雪初飘，一对雉鸡蹲伏坡石上。翠竹数竿，山鸟三两成群，栖于枝叶间，另有一鸟振翅欲飞，沈寂的画面中又添具生动之趣。竹以双钩为之，竹叶全用战笔。此帧笔墨古朴，雄雉胸腹间微有异样，系原画绢破损，经后人补笔者。 内容简介（英文）： A cold snow has blown over this scene of a pair of pheasants crouched on a rocky outcropping dotted with dried leaves. The male and female pheasant are sheltered by a few stalks of green bamboo, which also harbor three perched birds. Another bird has suddenly spread its wings and taken flight, adding an element of movement to this otherwise static composition. The bamboo stalks were done in the outlined method and the leaves delineated with "trembling strokes" of varying thickness. The ink and brushwork were applied with naturalness and spirit. Part of the breast of the male pheasant has been repainted, the brushwork being somewhat different from the rest of the bird. 网页展示说明 初雪寒天，雉鸡静踞坡石，上方黑脸噪鹛活动于竹林间，情境自然生动。除部分细枝外，均以双钩填彩法画成，坡石和竹叶的行笔起伏提顿明显，尤竹叶的颤动线条，接近南唐李后主樛曲、遒劲如寒松霜竹的金错刀笔法记载，可由此体认其面貌。相较于本院所藏宋人〈梅竹聚禽〉北宋画院挺劲稳健的风格，虽同样描绘自然生态，但本幅用笔富于起伏变化，创作时间应较晚，约为南宋或是南北宋过渡期所作。(20110913) 网页展示说明 In an early snow on a winter day is a pair of pheasants crouching quietly on a rocky slope. Above are masked laughing thrushes active amongst the bamboo stalks, making for a lively and animated scene. Except for a few fine branches, all the rest were done using the method of outlines filled with colors. The shape of the brushwork for the slope and bamboo leaves undulates and hesitates dramatically. The bamboo leaves particularly reveal trembling lines similar to the twisting and powerful “golden sword” brush method of Li Houzhu (Yu) of the Southern Tang, which was recorded as comparable to pines in winter and bamboo in frost. This work thus provides an understanding of what Li’s style may have looked like. Compared to another work in the Museum collection, “Plum Tree, Bamboo, and a Gathering of Birds” by an anonymous Song dynasty painter (which reflects the powerful and steady manner of the Northern Song Painting Academy), this work, despite the same natural and animated rendering, has much more undulation and variation in the brushwork. As such, it suggests a later date of production, perhaps in the Southern Song or in the transitional period between the Northern and Southern Song.(20110913) 研究性论着： 「翠竹翎毛」记录了鸟类在大自然中的生活片段。寒天积雪未深，天气还不是十分寒冷，于是鸟儿们便出来活动了。丛竹下的石坡上，安静的蹲踞着一对雉鸡，但牠们上方的竹林间，却不是那么安静了。四只黑脸噪（眉鸟）中，三只停栖在竹枝上，其中一只张口欲言，似是在和正飞离的那只相呼应，好像有什么事发生，这让寂静的画面顿时生动了起来，可见画家安排之巧！这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的「双钩填彩法」画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，这种特别的颤动式的线条，名为「战笔」。在绘画史的记载中，南唐李后主（937-978）以「金错刀」笔法为其书画的特色，虽现今已见不到相关的作品，不过从对此笔法的描述和本幅的「战笔」相类来看，或许可由此而有所体认！另画上雄雉胸腹间的笔墨和别处相比较，显得较为滞弱，则应是原来的画绢破损后，由后人补笔所造成的差异了。(谭怡令)