书体:

色彩:

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:

作者印记：朱克柔印（缂印）
收传印记：太监王诛收藏书画记
收传印记：张镠

题跋资料:

主题:

主要主题：翎毛鹡鸰 主要主题：花草红蓼 ；其他主题：水中动植物虾 ；其他主题：水中动植物荇藻 ；其他主题：山水溪涧、湍泉 

技法:

织 

参考资料:

收藏着录： 缂丝特展图录，页20-21、94-95 收藏着录： 缂织风华：宋代缂丝花鸟展图录，页31-34 收藏着录： 国立故宫博物院缂丝，图版7 参考书目： 1.童文娥，〈朱克柔缂丝鹡鸰红蓼〉，收入童文娥主编，《缂丝风华 — 宋代缂丝花鸟展图录》（台北：国立故宫博物院，2007年初版一刷），页31。 内容简介（中文）： 浅褐地设色织。鹡鸰攀立在红蓼茎上，侧着头俯视着水中的游虾。此幅织工精细，将各种物象，描写得十分精确而深刻，生趣盎然，得宋代册页花鸟画的画意。幅右下有「朱克柔印」一方，为南宋缂织名家朱克柔之作，此幅织工精巧，以「掺和戗」法的和色方法，将色彩由深到浅的过渡，刻画灵活，为了掌握更丰富的层次晕染，还加上墨色或其他颜料，如红蓼枯黄的叶子以红、蓝等色晕染点缀，表现秋天的萧瑟，画风写实，为朱克柔精心之作。 内容简介（中文）： 朱克柔，女，名强。江苏松江县人。南宋高宗时（西元一一二七–一一六二年在位）以女红著名于世。浅褐色地设色织。一只鹡鸰攀立在红蓼茎上，回首俯视水中游虾。鹡鸰屏息专注的神情与茫然不知危险的鱼虾形成有趣的对比，而红蓼茎杆似乎也微微地震动着，将瞬间发生的情景缂织的维妙维肖。缂织精密，作风沈静写实，有宋代花鸟册页画意。本幅为「镂绘集锦册」第六幅。 内容简介（英文）： Chu K’o-jou, also named Ch’iang, was a native of Sungkiang in Kiangsu. She was a famous weaver during the reign of Emperor Kao-tsung (r. 1127-1162). Colored threads were woven here against a light brown background. A wagtail is perched on a stalk of polygonum and looks down at a crayfish in the water below. The bird in utter concentration appears in contrast with the crayfish moving leisurely below. Even the stalk of polygonum looks like it moves ever so slightly with the tension of the bird, revealing its imminent action. The weaving is fine and the style is elegant and realistic, much in the manner of Sung album leaf paintings of birds and flowers. This tapestry is the 6th leaf from the album “Gems of Weaving”. 内容简介（英文）： In this scene woven in colors against a light ochre background is a wagtail perched on the stem of a polygonum plant as it looks down at shrimp in the water. The weaving here is meticulous as the various motifs have been rendered with precision and depth, creating a scene full of life that achieves the artistic effect of bird-and-flower album leaf painting in the Sung dynasty. To the lower right is a seal that reads, “Seal of Chu K’o-jou,” referring to the famous Southern Sung weaver Chu K’o-jou (fl. 1127-1162). The technique in this work is skillful as the method of harmonizing colors known as “join propping” has been employed to make the colors range from dark to light. Likewise, the portrayal is agile, indicating how the artist grasped the rich layers of wash layers. The addition of ink and other colors, such as red and blue washes that embellish the yellowing leaves of the polygonum, express the chilly approach of autumn. The realistic style here makes this a fine work in Chu K’o-jou’s name. This is the sixth leaf in the album “Collected Brocade of Carved Paintings.”