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：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：吕纪；题跋位置：本幅；款识：吕纪；书体：行书；全文： 印记：四明吕廷振印

主题:

主要主题：树木杨柳 ；次要主题：花草桃花 ；次要主题：山水春景 ；其他主题：树木  ；其他主题：树木竹 ；其他主题：翎毛喜鹊 ；其他主题：翎毛鹅 ；其他主题：翎毛鸳鸯 ；其他主题：翎毛雉（锦鸡．雉类）锦鸡；其他主题：翎毛鹡鸰 ；其他主题：翎毛燕 

技法:

皴法斧劈皴苔点 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页78 收藏着录： 故宫书画图录，第七册，页205-206 参考书目： 1.谭怡令，〈明吕纪柳塘禽集〉，收入谭怡令编，《吕纪花鸟画特展》（台北：国立故宫博物院，1995年初版），页106。 内容简介（中文）： 本幅的构景方式，与一般花鸟作品不同，以山水为主。上有吕纪名款，接近＜雪景翎毛＞款字，笔墨也受其影响，但相较之下，仍颇有差距。因此推测可能应宫廷之需，由工作坊内的弟子代笔，吕纪再签署名款于其上。 (20120105) 内容简介（中文）： 此一近似山水画之大幅作品，虽传为吕纪所作，然究其笔墨，非吕氏之眞蹟，惟确曾受其画风之影响。而画幅上之名款应无误，故可能是吕纪于宫中为应宫廷所需，而由其作坊内之弟子代笔，再署其名款者。 吕纪（活动于西元一四三九－一五○五年间），浙江鄞县（今宁波）人。字廷振，号乐愚，一作乐渔。弘治（一四八八－一五○五）间值仁智殿，官至锦衣指挥。花鸟初学边文进，后摹唐宋诸名家笔，结合工写，益臻其妙。 内容简介（英文）： This work which looks more like a landscape than a bird-and-flower painting has been attributed to Lü Chi. However, a close inspection of the brushwork will reveal that this painting is not by Lü Chi, but instead by a follower imitating his style. Lü Chi’s signature and seal, however, are authentic. It is quite possible that he signed this work which might have been painted by his assistants in his studio to fulfill commissions. Lü Chi (style name T’ing-chen, sobriquet Yao-yü) was a native of Ning-po, Chekiang province. During the Hung-chih period (1488-1505), he served in the Jen-chih Hall and held the rank of commander in the Imperial Bodyguard, a military unit that also provided sinecures for court painters. In bird-and-flower painting, he initially studied the works of Pien Wen-chin and later emulated the paintings of famous T’ang (618-907) and Sung (960-1279) dynasty artists. He combined detailed, meticulous brushwork (kung-pi) with expressive “sketching of ideas” (hsieh-i) and achieved wonderful results. 内容简介（英文）： The compositional arrangement of this work differs from other bird-and-flower paintings, appearing more like a landscape instead. At the top is a signature for Lü Ji, which looks similar to that on “Snowy Landscape and Birds.” This painting also reflects the influence of Lü Ji’s brushwork, but closer comparison still reveals differences. Consequently, it is postulated that this work may have been a court commission completed by a disciple in Lü Ji’s studio, to which Lü added his signature.(20120105)