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：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：奎章（半印）
收传印记：天历（半印）
收传印记：李之粹
收传印记：九如清玩
收传印记：也园珍赏
收传印记：阿尔喜普
收传印记：东平

题跋资料:

主题:

主要主题：走兽鹿 ；其他主题：山水秋景 ；其他主题：树木  

技法:

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页667 收藏着录： 故宫书画录（卷五），第三册，页33-34 收藏着录： 故宫书画图录，第一册，页139-140 参考书目： 1.陈阶晋，〈五代人丹枫呦鹿图〉，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65-67。2.陈阶晋，〈五代人秋林群鹿、丹枫呦鹿〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页261- 262。3.陈阶晋，〈五代人丹枫呦鹿图〉，收入石守谦、葛婉章主编，《大汗的世纪:蒙元时代的多元文化与艺术》（台北：国立故宫博物院，2001年初版），页289-290。4.〈五代作者佚名丹枫呦鹿〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页206。5.李霖灿，〈丹枫呦鹿和秋林群鹿图〉，《故宫文物月刊》，第2期（1983年5月），页49-54。6.本社，〈五代丹枫呦鹿〉，《故宫文物月刊》，第67期（1988年10月），页1。7.徐文琴，〈五代人丹枫呦鹿图〉，《故宫文物月刊》，第100期（1991年7月），页70。8.张错，〈五代乎？宋辽乎？〈秋林群鹿〉及〈丹枫呦鹿〉〉，《故宫文物月刊》，第306期（2008年9月），页14-27。9.陈阶晋，〈五代人丹枫呦鹿〉，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252。 内容简介（中文）： 画秋日枫林中，群鹿嬉游憩息的情景。幅中遍布浓密草木，中央较空疏处，閒散之鹿群或卧或立，左右略相对衬，构图上颇为和谐稳定。画鹿先淡勾轮廓，再以墨多次渲染；浓淡凹凸分明，效果突出。周围树木色彩变化妍丽，笔法细致活泼。在风格上，揉和了写实与装饰的趣味。 内容简介（中文）： 这幅画无作者名款，描绘群鹿游憩于色彩斑烂的秋林中，和另一幅〈秋林群鹿〉的风格尺寸极为接近，应是同一组画作。 图中鹿只的头部都朝向同一方向转去，似乎听到发自森林中某处的声响。鹿的躯体用晕染法，有凹凸分明的效果，周围的树木用没骨画法，色彩灿烂缤纷。丛树密列，透过树干可以窥见憩息于后的鹿只，本幅画法与传统中国花卉翎毛画法略有差异，可能和辽或契丹有关。(20061206) 内容简介（中文）： 这幅画无作者名款，描绘群鹿游憩于色彩斑烂的秋林中，和另一幅〈秋林群鹿〉的风格尺寸极为接近，应是同一组画作。 图中鹿只的头部都朝向同一方向转去，似乎听到发自森林中某处的声响。鹿的躯体用晕染法，有凹凸分明的效果，周围的树木用没骨画法，色彩灿烂缤纷。丛树密列，透过树干可以窥见憩息于后的鹿只，本幅画法与传统中国花卉翎毛画法略有差异，可能和辽或契丹有关。 内容简介（英文）： This painting bears no signature of the artist. Depicted is a herd of deer roaming about a dense and colorful autumn grove of maples. This work matches the size and style of another in the Museum and they probably once were part of a set. The heads of the deer here face in the same direction, as if having just heard something in the forest. Their bodies are rendered in washes of color to give a sense of volume. The trees have been done in the "boneless" manner of washes with no outlines, and the deer can be seen through the nowtransparent tree trunks. This style differs somewhat from traditional Chinese painting methods and may be related to a foreign manner practiced under the Liao dynasty (907-1125). 内容简介（英文）： This painting, bearing no signature or seal of the artist, depicts a herd of deer roaming leisurely about a dense and colorful grove of maple trees in autumn. This work closely matches the size and style of another painting in the Museum and on display here (“Herd of Deer in an Autumnal Grove”). Both were probably once part of the same set. The heads of the deer here face in the same direction, as if having just heard something in the forest. Their bodies are rendered in delicate shades of color washes to give them a sense of volume. The trees also have been done in the “boneless” manner of washes with no outlines, making for a riot of color and form. In the dense forest, the bodies of the deer can also be seen behind the tree trunks. This style differs somewhat from traditional Chinese painting methods found in the genres of birds-and-flowers and animals, and it may be related to a foreign manner practiced by the Khitan under the Liao dynasty (907-1125).(20061206) 内容简介（英文）： This painting portrays a maple grove on an autumn day. The crimson maples and deep blue shadows enframe a herd of deer within a central clearing. Some of the deer stand grazing, others lie resting, while others affect a playful attitude. To the left and right of the clearing, trees and grasses stabilize and complete the composition. The deer were first outlined with very light ink, then given a sense of weight and volume by the addition of layers and layers of increasingly darker ink. This method of shading is not traditionally Chinese but indicates, rather, an influence from outside China. The extraordinary naturalism of the deer contrasts with, but is also balanced by the elegance of the surrounding foliage, giving the viewer a sense of quiet perfection. The dimensions of this painting correspond almost exactly with those of "Herd of Deer in an Autumn Forest". The style and setting of the two paintings are also quite similar. Thus, it is probable that these works are from the hand of a single artist. 网页展示说明 本幅画秋日枫林中，群鹿嬉游憩息的情景，和院藏另一幅尺幅相同的〈秋林群鹿〉画风极为接近。二者均无作者款印，有学者推测此或出自巨幅联屏或通景屏，属同一组画作。全图不留空白，鹿只或昂首远望；或竖耳聆听，意态生动。鹿的躯体用晕染法，周围的树木用没骨画法，色彩绚丽，极富装饰趣味。通幅古风盎然，唯画法及设色与汉人相异，因此被认为是十世纪后半辽代绘画之代表作。(20110913) 网页展示说明 This work depicts a maple forest in autumn with a scene of a herd of deer frolicking and resting. It is very close in size and style to another work in the National Palace Museum collection, “Herd of Deer in an Autumnal Grove.” Neither of these works bear the seal or signature of the artist, but scholars have suggested that they may have come from a larger continuous screen or series of screen paintings, having once been part of the same set.No blank space is left in the painting as the deer look up and out or have their ears standing at attention in a very lifelike manner. The bodies of the deer were rendered using haloes of wash, the surrounding trees done with the “boneless” painting method of washes. The colors are gorgeous, yielding an exceptionally decorative manner. The painting is brimming with archaism, but the painting and coloring methods differ from Chinese traditions, which is why this work has been considered representative of Liao dynasty painting from the latter half of the tenth century.(20110913)