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：乾隆御览之宝
鑑藏宝玺：御书房鉴藏宝
鑑藏宝玺：石渠宝笈
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：缉熙殿宝
收传印记：天历之宝
收传印记：奎章阁宝
收传印记：司印（半印）
收传印记：钦赐臣权
收传印记：臣荦
收传印记：子孙永宝

题跋资料:

主题:

主要主题：树木竹 主要主题：花草梅（白．红．蜡梅）白梅；其他主题：山水奇石 ；其他主题：花草荆枝 ；其他主题：翎毛鹌鹑 ；其他主题：翎毛斑鸠 ；其他主题：翎毛伯劳 ；其他主题：翎毛桑鸤 

技法:

工笔 双钩 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1155 收藏着录： 故宫书画录（卷五），第三册，页153 收藏着录： 故宫书画图录，第三册，页135-136 参考书目： 1.谭怡令，〈宋人梅竹聚禽图〉，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164-165。2.谭怡令，〈无款梅竹聚禽图〉，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211- 212。3.刘芳如，〈梅竹聚禽〉，收入林柏亭主编，《国宝菁华 — 书画‧图书文献篇》（台北：国立故宫博物院，2006年12月），页202。4.谭怡令，〈宋人梅竹聚禽图〉，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87。5.林柏亭，〈宋人梅竹聚禽图〉，《故宫文物月刊》，，第1期（1983年4月），页74-78。6.谭怡令，〈宋人梅竹聚禽图〉，《故宫文物月刊》，第100期（1991年7月），页84。7.刘芳如，〈宋人梅竹聚禽〉，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280。 内容简介（中文）： 此画荒野陂石上，老梅着花，翠竹挺秀，棘草丛生，桑鸤、伯劳、绿鸠、鹌鹑栖息于其间。所作梅竹荆棘，枝干老劲，花叶秀润，各具生态。野禽翎毛尤有情趣，此乃缘于宋代为写生之极盛时期。而宋人作画讲究神理情趣兼到，故作品无论繁简大小，俱有天机活泼融和自然之致。 画中构图稳定，枝干繁而不乱，弯曲的枝桠左来右往，不但形成富弹性与张力的线条，也给画面带来律动感。此图充分展现徽宗画院花鸟画的美学，作者虽取材于自然，但在构图上却处处展现他安排的巧思；而花木禽鸟的刻划入微，精工华美，更是细心观察的结果。 本幅虽未署名款，以风格言，应为宋画院之佳作。幅上有宋元内府收藏玺印。 内容简介（中文）： 画郊园一景，陂石上老梅、翠竹挺秀，棘草丛生，桑鸤、绿鸠、伯劳、鹌鹑栖息其间。宋代为写生之极盛时期，讲究形神兼备，故笔法生动写实，富转折与流畅之变化。 画面的整体气氛沈静，其中栖止的鸟类，属静的一面；不过繁而不乱的枝干，形成富弹性和张力的弧型线条，则带来了律动感。这充分表现出徽宗（1082－1135）画院花鸟画虽取材于自然，在构图上却处处展现巧思的特色。(20061206) 内容简介（英文）： Depicting a scene from a suburban garden, an old plum tree and emerald bamboo grow upright and elegantly on a slope interspersed with clusters of thorns and grasses, among which can be found such birds as the grosbeak, turtledove, shrike, and quail. The Sung dynasty was the golden age of realism (“sketching from life”) in Chinese painting, in which both form and spirit of the subjects were meticulously studied and rendered. Resulting in the development of animated and realistic brush methods, it involved great variation in direction and flow to the brush strokes. The overall atmosphere of this painting is somewhat static and still with a variety of birds. However, the complex (yet not chaotic) branches and trunks create flexible and tensely arcing forms that also add an element of rhythm to the composition. This clearly shows that bird-and-flower subjects produced at the Imperial Painting Academy under Emperor Hui-tsung (1082-1135), although inspired by nature, still reveal the feature of great skill and command of every facet of the composition.(20061206) 内容简介（英文）： A host of birds—including grosbeaks, shrikes, pigeons, and quail—has gathered in a wild thicket of bamboo and brambles dominated by an old, blossoming plum tree. The boughs and trunks of the underbrush are imbued with an enduring strength set off by the delicate moistness of the leaves and flowers. Through careful study and observation of Nature, Sung artists were able to communicate their subjects' spirit and character, and their works, regardless of scale or complexity of composition, reflect a certain sense of liveliness and animation. The composition is stable and the branches are complex, but not chaotic. The arching branches extend from right to left to carve out a space, offset the vertical arrangement, and suggest tensile force. This also gives the work rhythmic flow and movement, expressing the aesthetics of bird-and-flower painting in court painting under Hui-tsung. Taking a slice from nature, this work reveals considerable compositional skill. Furthermore, the beautifully naturalistic details of blossoms, plants, and birds reflect the artist's meticulous observation. This work bears no signature or seals that allow us to identify the artist, but stylistic considerations suggest it is a product of the Sung Imperial Painting Academy. 网页展示说明 郊野的一角，老梅棘竹丛生，桑鸤、绿鸠和灰伯劳成对栖息其间，另在树石之间还有一只鹌鹑。画中的植物和鸟类虽然都处在静止的状态，但是弯曲的枝干所形成的数道弧线，却使得画面具有律动感，增添了画面活泼的趣味。画中禽鸟彼此互相呼应。每片鸟羽都仔细钩勒，再敷染颜色，一丝不苟，非常写实。画梅干和石头的用笔沈缓，以碎笔点出质感；画竹、草和荆棘以及所使用的皴法，用笔十分流畅。全作的笔法依据各种物体不同的形质灵活变化，充分反映了画家仔细观察自然，刻划入微的写实精神。 这件作品没有画家的款印，不知道是何人所作。可是画中梅树枝干的布局，与宋徽宗的「蜡梅山禽」十分接近，全作的笔法又和崔白（活动于十一世纪）的「双喜图」相似，因此推断这件画轴可能是宣和画院中，属崔白一派的画家所作。 网页展示说明 On a slope grows an old plum tree surrounded by thorns, grasses, and elegant green bamboo. Perched among them are grosbeaks, shrikes, and doves. Behind the trunk of the plum tree is a quail. The composition is stable and the branches are complex, but not chaotic. The arching branches extend from right to left to carve out a space, offset the vertical arrangement, and suggest tensile force. This also gives the work rhythmic flow and movement, expressing the aesthetics of bird-and-flower painting in court painting under Hui-tsung. Taking a slice from nature, this work reveals considerable compositional skill. Furthermore, the beautifully naturalistic details of blossoms, plants, and birds reflect the artist's meticulous observation. 网页展示说明 本幅描绘春日的郊野一隅，白梅、翠竹、荆棘傍石丛生，枝干弯曲、纠结，极尽变化之能。枝桠间并有桑鸤、绿鸠和楔尾伯劳成对栖息，地面犹见一只鹌鹑低首觅食。画上时代最早的收传印为南宋理宗的「缉熙殿宝」，故成作年代应不晚于北宋。《宣和画谱》着录李正臣其人作有〈梅竹山禽图〉，与本件颇为相符。由于院画多未署款，不能断言本幅即出自李氏，但从画风推测，本幅当为宣和画院的作品。(20110913) 网页展示说明 This painting depicts an intimate rustic scene on a spring day with white plum blossoms, emerald bamboo, and thorns growing in profusion by rocks. The branches and stalks arc and intertwine with great variation. Interspersed and perched amongst the branches are pairs of yellow-billed grosbeaks, green pigeons, and Chinese gray shrikes, while a quail on the ground stoops over searching for food.The earliest collection seal on the painting is “Treasure of the Qixi Hall” from Emperor Lizong of the Southern Song, indicating it does not date after the Northern Song. The imperial Xuanhe Painting Catalogue of the late Northern Song records Li Zhengchen and his painting of “Plum Blossoms, Bamboo, and Wild Birds,” which appears to be quite similar to this work. While many works of the Painting Academy were unsigned, it cannot be asserted that this work was by Li. theless, judging from the style, it appears to be from Emperor Huizong’s Xuanhe Painting Academy.(20110913) 研究性论着： 「宋人梅竹聚禽」画的是郊区一景。在轻风徐来时，画家以生动写实，或是多转折、或是流畅的笔法，描绘出梅、竹、荆棘和坡石小草的自然型态，以及栖息其间的桑鸤、绿鸠、楔尾伯劳和鹌鹑，这属于静态的一面；但同时在写生之外，更运用匠心，安排各植物的枝干，弯曲成多道弧线，添加了律动的感觉。而不论静与动，又都在画面上凝结于一刹那间，呈现出一份宁静安详的气氛，是典型表现宋代绘画特色的作品之一。若再仔细看看画幅的右边，会发现好像有些意犹未尽的感觉。首先是靠边的伯劳被裁切得不太自然；下方宋理宗（1205-1264）的殿名印「缉熙殿宝」，在一般的情况下也不该会被裁切到；尤其更特别的是各鸟类都成双出现，却只有鹌鹑是一只，并面朝外缘，像是在寻找着什么。由于有这些疑点，我们因而推断这幅画可能因为破损，或在重新裱装时右方被裁去了一小段，而成了今天的面目，以致鹌鹑一直在寻觅着牠失去的伴侣！(谭怡令)