书体:

色彩:

设色

装裱形式:

册(折装‧椭圆幅式)

创作时间:

文字类型:

质地:

本幅绢对幅绢

释文:

印记资料:

题跋资料:

题跋类别：题签； 裱纸 ；书体：楷书；全文：冯大有太液荷风。

题跋类别：题跋；作者： 对幅 ；书体：行书；全文：宫连太液见沧波。暑气微消秋意多。一夜秋风苹末起。露珠翻尽满池荷。

主题:

主要主题：花草莲荷 主要主题：翎毛鸭．凫绿头鸭。小水鸭；次要主题：翎毛燕 ；其他主题：草虫蝶蛾 ；其他主题：水中动植物荇藻 

技法:

工笔 双钩 

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第一册，页513 收藏着录： 故宫书画录（卷六），第四册，页211 收藏着录： 故宫书画图录，第二十八册，页246-255 参考书目： 1.林柏亭，〈冯大有太液荷风〉，收入国立故宫博物院编，《宋代书画册页名品特展》（台北：国立故宫博物院，1995年初版一刷），页287-288。2.本社，〈宋冯大有太液风荷〉，《故宫文物月刊》，第29期（1985年8月），封底。3.林柏亭，〈「七十件书画册页名品特展」精选(五) — 冯大有太液荷风〉，《故宫文物月刊》，第150期（1995年9月），页94-97。4.陈韵如，〈太液荷风〉，收入何传馨主编，《文艺绍兴：南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010年十月初版一刷），页371。 内容简介（中文）： 冯大有（西元十二世纪），江苏苏州人。自号怡斋，官至承事郎。七岁能文，善画莲，写阴睛风雨各态，极能传神。本幅选自「宋元集绘」册第九幅。满塘荷叶，偃仰倾侧，风姿万千，伴以红白芙蕖，浮萍点点，群鸭悠游觅食，蝶燕蹁跹飞舞，益显一派炎夏荷风满塘，生意勃发的景象。画名太液，语出﹝史记封禅书﹞。按汉武帝于太液池南筑建章宫，复于池中建台，至昭帝时，尝有黄鹄飞入池中，群臣以为瑞兆。大有此帧纨扇荷花，布局赋彩典雅，且蝶凫成双，显然隐含祥瑞之意。 内容简介（中文）： 此团扇将近三分之二幅面，画着自水面长出高低参差的荷叶，上方留白表现天空，有一飞燕与一双蝴蝶舞动其间。下方绘有水面，三对水禽穿梭其中，水面还满布大小浮萍，显得生趣盎然。荷叶以精细笔法描绘叶脉文理，也借线条表现叶缘的翻转，再又透过深浅绿色处理荷叶之正背，使得画中荷叶姿态变化丰富，具两宋之间的空间表现概念。此景虽未画残荷，但绘有荷花花瓣飘落水面，可比为初秋景象。(20101015) 内容简介（英文）： The artist here filled almost two-thirds of the painting with a scene of short and tall lotuses growing from the water’s surface. The blank area above represents the sky, where a swallow and a pair of butterflies fly about. The lower area devoted to the water reveals three pairs of water birds shuttling among the plants, the surface filled with duckweed of varying sizes to make for a very vivid and lively scene. The lotus leaves have been rendered with fine brushwork for the veins, the lines also expressing the twisting and turning of leaf edges. Combined with the use of light and dark shades of green to suggest the front and back of the leaves, the painting of the lotuses reveals great variety and richness, expressing a concept of space found in the interval between the Northern and Southern Song. Although this work does not depict withered lotuses, the falling of lotus petals onto the water’s surface already suggests early autumn.(20101015) 内容简介（英文）： Feng Ta-yu was a native of Suchou in Kiangsu. He took the sobriquet I-chai and eventually served in the government position of Ch'eng-shih-lang. By the age of six he could already write prose, and he excelled at conveying the spirit of lotuses in every context of light and dark, wind and rain. In this work, the ninth leaf from the album Sung Yuan chi-hui, a pond is seen filled with lotus plants gently blown in every imaginable position. The red and white blossoms float above the water surface as a group of ducks leisurely feed below them. Butterflies and swallows can be observed flying about this lively scene of whiling away the summer. The Chinese title of this leaf includes the characters “T'ai-yeh,” which is found in Feng-ch’an shu of Records of the Grand Historian. Emperor Wu-ti (r. 140-87 B.C.) of the Former Han had a palace constructed at the T'ai-yeh Pond which included a pavilion. During the reign of his sucessor, Emperor Chao-ti (r. 86-74 B.C.), a golden swan was reported to have descended to the pond. Officials at the time took it as an auspicious sign. In Feng's album leaf of lotus blossoms, the harmonious composition and elegant coloring, complemented by the butterflies and ducks, echo the delicate air of auspiciousness in the above story.