书体:

色彩:

设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

收传印记：张则之
收传印记：忠孝传家
收传印记：棠邨审定
收传印记：蕉林玉立氏图书

题跋资料:

题跋类别：题签；    李安忠野菊秋鹑

主题:

主要主题：翎毛鹌鹑 ；其他主题：花草车前草 ；其他主题：花草菊 ；其他主题：树木竹 ；其他主题：花草荆枝 

技法:

工笔 写意 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2490 收藏着录： 故宫书画录（卷六），第四册，页180 收藏着录： 故宫书画图录，第二十九册，页152-159 参考书目： 1.葛婉章，〈李安忠野菊秋鹑〉，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294-295。2.谭怡令，〈宋李安忠野菊秋鹑〉，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82-83。3.葛婉章，〈「七十件书画册页名品特展」精选(六) — 李安忠野菊秋鹑〉，《故宫文物月刊》，第152期（1995年11月），页76-77。4.谭怡令，〈野菊秋鹑〉，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370-371。 内容简介（中文）： 设色画鹌鹑两只，在土坡上，背景作野菊荆棘。画原无名款，清代收藏家梁清标（西元1620─1691年）定为南北宋间画家李安忠作品。细审野菊点叶及钩竹笔墨，已近于宋代马远、马麟父子（12─13世纪）之风。 李安忠（活动于12世纪上半叶），曾经职于北宋徽宗宣和（1119─1125）画院，南宋高宗绍兴（1131─1162）间复职，赐金带。工画花鸟走兽，尤工勒。本幅选自「名绘集珍」册第十幅。 内容简介（中文）： 象征秋的野菊和红叶，配以白体的鹌鹑两只，显现明媚秋光。成双的景物，总有祝福之意。羽色主要的白色，为宋代祥瑞的象征。 清代收藏家梁清标（1620─1691）虽定为李安忠之作，然刻意抖动的笔意，与其「竹鸠」不类。反点叶、钩竹与荆棘之笔，相似于马麟「暮雪寒禽」笔韵。又借着芦苇梢划破留白处，将观赏视线再连结到鹌鹑上，已具南宋主观营构画面观点，创作时间或近于马麟之时。(20101015) 内容简介（英文）： Wild chrysanthemums and red leaves signify the arrival of autumn. Combined with the presence here of two white quails, the radiant beauty of a bright autumn day shines forth even more brilliantly. The depiction of certain motifs in pairs traditionally conveys a message of blessing, and the whiteness of the feathers here also symbolized auspiciousness in the Song dynasty.Although the Qing dynasty collector Liang Qingbiao (1620-1691) attributed this work to Li Anzhong, the intentionally quivering brush manner differs from his “Bamboo and Shrike” in this exhibit. The brushwork for the dotted leaves, outlined bamboo, and brambles are instead similar to the manner of Ma Lin’s “Late Snow and Wintry Birds.” The artist also used a branch here to define the area left blank, leading the viewer’s eye out to where the quail is looking. This already reveals the later Southern Song viewpoint of creating a subjective arrangement, so the time of production here is perhaps closer to that of Ma Lin.(20101015) 内容简介（英文）： This painting depicting depicts a pair of quails as they pause for a moment on a sloping bank overgrown with brambles and wild chrysanthemums. This album is unsigned, but was attributed to Li An-chung by the Ch’ing dynasty collector Liang Ch’ing-piao (1620-1691). However, the finely drawn chrysanthemums, the shaping of the leaves, and the modeling strokes outlining the bamboo leaves suggest the style of the Sung painter Ma Yüan (fl. 1190-after 1224) or his son Ma Lin (fl.1195-1164). This is the tenth leaf from the album Ming-hui chi-chen. Li An-chung served in the shao-hsing era (1131-1162), he again entered the Academy and was awarded the Golden Belt. Li was noted for his renditions of birds, flowers, and animals. He was especially noted for his skill in the outline method of painting.