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：重华宫鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：乐善堂图书记
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

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：花草莲荷 主要主题：花草芙蓉 主要主题：翎毛鹭鸶 ；次要主题：树木杨柳 ；其他主题：山水秋景 ；其他主题：翎毛山雀 ；其他主题：翎毛鹡鸰 ；其他主题：花草慈姑 ；其他主题：花草 水蜡烛

技法:

工笔 皴法 

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页803 收藏着录： 故宫书画录（卷五），第三册，页332 收藏着录： 故宫书画图录，第七册，页175-176 参考书目： 1.谭怡令，〈明吕纪秋鹭芙蓉〉，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101。2.〈明吕纪秋鹭芙蓉图〉，收入陈阶晋、赖毓芝主编，《追索浙派》（台北：国立故宫博物院，2008年初版一刷），页177。3.谭怡令，〈秋鹭芙蓉〉，收入林柏亭主编，《国宝菁华 — 书画‧图书文献篇》（台北：国立故宫博物院，2006年12月），页208。4.谭怡令，〈明吕纪秋鹭芙蓉〉，《故宫文物月刊》，第300期（2008年3月），页41。 内容简介（中文）： 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。 本幅为吕纪典型之代表作。白鹭、鹡鸰、芙蓉、柳与荷，是经常出现于其绘画中的题材；画大型禽鸟白鹭立前坡石上，柳树之横跨画面和枝上的较小型山雀，则是构景上常见的安排。而线条上更见吕氏画花鸟均匀、流畅却不至硬挺；画树石有起落变化、时不相连贯之用笔。 内容简介（中文）： 吕纪（活动于西元一四七七－一四九七年间），浙江鄞县人。字廷振，号乐愚，一作乐渔。花鸟初学边文进，后摹唐宋诸名家笔，始臻其妙。弘治（西元一四八八－一五○五年）间被征值仁智殿，为锦衣卫指挥使。 荷池畔，柳树迎风，芙蓉、残荷也随着轻舞，柳梢有两只白鹭，乘风飞翔而来，池边的白鹭，回首鸣叫，相与呼应，构成生动且富有动态美的画面。 内容简介（英文）： 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. This painting represents a typical work by Lü Chi; egrets, wagtails, hibiscus, a willow tree, and lotuses are elements which often appear in his paintings. This kind of arrangement consisting of a large-scale egret standing on a rocky bank, willow tree branches spreading across the painting, and small titmice perched on branches is a common compositional scheme. In terms of technique, the smooth, fluid brushstrokes devoid of any stiffness for the birds and flowers as well as the varied brushwork in the trees and rocks where a brushline is sometimes intentionally interrupted and then continued are all characteristics of Lü Chi. 内容简介（英文）： Lü Chi, style name T’ing-chen, sobriquet Yao-yü, was a native of Yin County, Chekiang. In the genre of flower and bird painting, Lü initially studied the works of the early Ming dynasty painter, Pien Wen-chin. He later emulated the works of the T’ang (618-907) and the Sung (960-1279) masters. He eventually became one of the greatest painters of birds and flowers of the Ming dynasty. During the Hung-chih era (1488-1505), he was summoned to serve in the Hall of Benevolent Wisdom (Jen-chih Tien) in the imperial court. Lü served as a commander in the Imperial Bodyguard, a military unit that also provided sinecures for court painters. On the banks of a lily pond, a willow sways, and hibiscus and rushes also dance in the light breeze. Near the willow branches two egrets soar calling out while a third standing by the pond answers back. The composition is very lifelike, and the interaction among egrets seems most credible. 网页展示说明 秋日粉色芙蓉盛开，绿柳摇曳，搭配白鹭，展现明媚秋色。构图上，有大型禽鸟如白鹭立于前景坡石，主要树木如柳枝斜跨画面，上栖较小型雀鸟，为吕纪常见的构景方式。幅中花鸟用笔均匀流畅，不硬挺；树石有起落变化，间有断续感；色泽明丽淳厚，为吕纪宫廷系列富丽面貌的代表。(20120105) 网页展示说明 Pink hibiscuses in full bloom on an autumn day appear on the bank of a lily pond as a willow sways in the breeze. With the white egrets, the scene expresses a radiantly beautiful and colorful autumn. In terms of composition, a large waterfowl (white egret) stands on the foreground slope, while the main tree (willow) extends diagonally into the scenery. Perched in the tree are smaller birds (tits), thereby completing a compositional format frequently seen in Lü Ji's paintings. The bird-and-flower motifs in this work are all done with brushwork of even and fluid lines without any stiffness. The brushwork in the tree and rock motifs rises and falls with variation, having both interruption and continuity. The hues are bright and beautifully straightforward, making this a representative example of Lü Ji’s sumptuous court style.(20120105) 网页展示说明 秋の日に咲き夸る薄红色の芙蓉、风に揺れる青々とした柳の叶、それらの傍らに配されたシラサギ─丽しい秋の风景が描かれている。前景の岩石の上に立つ大きなシラサギ、画面を斜めに横切る柳の枝にとまる小さなスズメなど、吕纪の作品によく见られる构図となっている。花鸟の用笔は等しくなめらかで硬さがない。树木と岩石の描き方には高低の変化があり、その间は断続的になっている。素朴でありながら明るく美しい色彩など、吕纪の华丽な宫廷絵画を代表する作品である。(20120105)