【作品基本信息】
| 作者 | 边景昭（文进） |
| 图名 | 历代名绘册-梅花幽鸟图 |
| 朝代 | 明朝 |
| 图片大小 | 18.04MB |
| 分辨率 | 300×300 |
| 像素大小 | 2123×2833 |
| 图片尺寸 | 17.97×23.98 |
| 数量 | 1 |
| 馆藏信息 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画 |
| 品名 | 历代名绘 册 明边文进梅花幽鸟 |
| 分类 | 绘画 |
| 作者 | 边文进 |
| 数量 | 一幅 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 23.8×24.7 |
| 对幅 | 23.8×24.7 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 绢 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 边文进 | 本幅 | 景昭 | 楷书 | |
| 题跋 | 梁诗正 | 对幅 | 臣梁诗正敬题 | 行书 | （梁诗正行书题句。文不录。） |
| 印记： 臣、诗正 |
|||||
印记资料
| 【印记类别】 | 【印记】 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 主要主题 | 花草 | 梅（白．红．蜡梅） | 白梅 |
| 主要主题 | 翎毛 | 黄鶥 |
技法
| 【技法】 | 【技法细目】 |
| 工笔 | |
| 双钩 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈初编（重华宫），下册，页736 |
| 收藏着录 | 故宫书画录（卷六），第四册，页258 |
| 内容简介（中文） | 边文进（活动于公元一四０三－一四二八年），名景昭；以字行。福建沙县人，祖籍甘肃陇西。明初花鸟院画家中，以边氏最为有名，画翎毛花果皆极精妙。永乐朝任职于工部文思院，直谨身殿待诏；宣德间被授予武英殿待诏官衔。其花鸟画曾被誉为「禁中三绝」之一。 本幅绘白梅盛开，枝干曲虬横出，画中一黄眉鷡引颈顾望栖于枝上，逼真传神。此扇面无论题材、构图、设色均存南宋院画意趣；画梅枝用笔与边氏「三友百禽」颇为近似，画幅上遗有「景昭」之署款。 |
| 内容简介（英文） | Plum Blossoms and Solitary Bird Pien Wen-chin (act. ca. 1403-1428) Ming Dynasty Pien Wen-chin was named Ching-chao but used his style name Wen-chin as his personal name. He was a native of Sha-hsien, Fukien province, though his ancestral home was in Lung-hsi, Kansu province. He was the most famous bird-and-flower painter at the early Ming court, and his paintings are truly exquisite. During the Yung-lo period (1403-1424), Pien Wen-chin served in the Crafts Institute of the Ministry of Works, and then became a Painter-in-Attendance in the Ching-shen Hall. During the Hsuan-te period (1426-1435), he was appointed Painter-in-Attendance in the Wu-ying Hall. A twisted branch of white plum blossoms in full bloom stretches across the composition. A yellow-browed bunting perched on the plum branch cranes its neck. Pien Wen-chin captured not only the lifelike appearance but also the spirit of the bird. In terms of subject matter, composition, and coloration, this fan painting is reminiscent of the evocative qualities of Southern Sung court paintings. The brushwork in the plum branch is very similar to that in The Three Friends and One Hundred Birds also by Pien Wen-chin, and this painting also bears the signature “Ching-chao.” |
| 内容简介（中文） | 边文进，生卒年不详。字景昭，福建沙县人。永乐（公元一四０三至一四二四年）间召至京师，授武英殿待诏，宣德（公元一四二六至一四三五年）间仍供事内殿。博学能诗，善画花果翎毛，为其后吕纪等人师法的匠师。 本幅扇面，款署「景昭」二字，似有涂抹之痕迹。图中画一山雀站在梅枝引颈长鸣的情景，鸟身羽毛的松活、枝干的老坚，都极为逼真传神，画技相较宋人也未见逊色。 本幅为「历代名绘」册第十六开。 |
| 内容简介（英文） | Pien Wen-chin, style name Ching-chao, was a native of Sha County, Fukien. He was summoned to the capital during the Yung-lo era (1403-1424), where he served as a Painter-in-Attendance in the Wu-ying Hall. During the reign of the Hsuan-te Emperor (r. 1426-1435), he served in the Inner Court. He was an accomplished poet, and in the arts he excelled at flower and bird painting. He was considered the finest of the Ming Dynasty academy artists prior to Lu Chi (fl. ca. 1477-1497), who, along with many later artists, was greatly influenced by Pien. A yellow-throated bunting lifts its head in song as it perches on a branch of plum blossoms. The artist has communicated both the bird’s soft plumage and the tree’s weathered stiffness with convincing realism. The inkwork here is at least equal to the brush techniques of the Sung dynasty masters. The seal on this round fan, which |
【作品展示】
历代名绘册-明边文进梅花幽鸟-
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