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：御书房鑑藏宝
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
收传印记：（左下角一残印不识）

题跋资料:

主题:

主要主题：翎毛鹅 ；次要主题：翎毛翠鸟 ；次要主题：花草芦苇 ；次要主题：花草红蓼 ；次要主题：花草莲荷残荷；其他主题：山水秋景 

技法:

写意 

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： 故宫书画图录，第三册，页219-220 收藏着录： 国宝的形成-书画菁华特展，页170-173、316 参考书目： 1.林柏亭，〈宋人画秋塘双雁〉，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168-169。2.谭怡令，〈宋人画秋塘双雁〉，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86。3.谭怡令，〈宋人秋塘双雁〉，《故宫文物月刊》，第300期（2008年3月），页23。4.童文娥，〈宋人画秋塘双雁〉，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282。 内容简介（中文）： 鹅与雁同科，古人有时雁鹅不分而通称。本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。虽然北宋后半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻着萧瑟苦寒中亦不改其情意的祥瑞之意。画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋微宗朝画院之作。通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。 内容简介（英文）： Domesticated and wild varieties of geese were often referred together in ancient China as “rustic” geese. Here, a pair rest on a shoal with polygonum and decaying lotuses of autumn blowing in a light breeze. The goose at the right looks up at a bird in flight as the other preens its feathers behind the polygonum. The two form an engaging pair. The composition takes the form of the reeds, lotuses and islets on either side forming a U-shape which envelopes the focus of the painting (the geese) inside. The balance and harmony of the arrangement is also suggested by the reeds and lotuses on either side arching towards the center. Although pairs of geese or ducks with a background of autumn lotuses became popular in the refined paintings of scholars, the subject still had auspicious overtones suitable for professional artists. The meticulous detail of the plants and feathers as well as the open distance in the center suggests that this is a work from the painting academy under Emperor Hui-tsung in the late Northern Sung (1st quarter of the 12th c.). The seam running down the middle indicates it was made from two panels or that they were remounted together. 网页展示说明 画秋天宁静的池塘一隅，黄芦、红蓼、枯荷与白鹅相映成趣。本幅虽画双鹅，然雁、鹅同科，古人更常雁、鹅不分，而通称为雁，故名为〈秋塘双雁〉。全作设色醇厚，以墨色点染其间，造型优雅写实，神情生动逼真，显现画家深入观察自然之写实功力。此幅为两幅绢拼接而成之作品，从其空旷平远的构景，具荒寒水景之意趣，皆可定为北宋徽宗朝（1102－1126）画院之作，是现存北宋汀渚水鸟罕见的代表作品。(20110913) 网页展示说明 This painting depicts the corner of a serene pond in autumn, highlighted by withering reeds, red polygonum, and white geese. Although this work depicts a pair of geese, the domesticated and wild goose belong to the same family. The ancient Chinese furthermore often made no differentiation between the two. Thus, although the original title refers to wild geese, there are actually domesticated ones shown here. The coloring throughout the work is pure and straightforward with washes of ink appearing amongst them. The forms “sketched from life” are excellent and refined, being spirited and animated true to life and thus revealing the painter’s great skill in observing and depicting forms from life.This painting is done on two bolts of silk joined together. Both the expansive and distant scenery with the sense of wintry desolation for the water scenery can be attributed as features of the Painting Academy at the court of Emperor Huizong (1101-1126) in the Northern Song. It would make this a rare work representative of shoal-and-waterfowl painting from the Northern Song period.(20110913)