书体:

色彩:

设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅绢对幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：干清宫鑑藏宝
鑑藏宝玺：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：石渠宝笈
收传印记：蕉林书屋

题跋资料:

题跋类别：题签； 裱纸 ；书体：楷书；全文：宋刻丝翠羽秋荷。

主题:

主要主题：花草莲荷 主要主题：翎毛翠鸟 ；次要主题：水中动植物鱼 ；次要主题：水中动植物荇藻 ；其他主题：草虫  

技法:

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第一册，页513 收藏着录： 故宫书画录（卷六），第四册，页211 收藏着录： 故宫书画图录，第二十八册，页246-255 参考书目： 1.童文娥，〈缂丝翠羽秋荷〉，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47。2.本社，〈宋缂丝翠羽秋荷〉，《故宫文物月刊》，第42期（1986年9月），封底里。 内容简介（中文）： 浅褐色地设色织。缂织秋天荷塘一隅，一只翠鸟俯立在莲蓬之上，屏气凝神，注视着水中的游鱼，将翠鸟灵动的身影，缂织得维妙维肖，水草、荷叶及悠游的鱼儿，逼真酷肖，增添自然野趣。此幅设色精雅写实，虽以蓝绿色系为主，但分色细腻，尤其在荷叶、叶脉、水草深浅色系的处理十分独到。所用纬线似为麻或是柞蚕丝，因此光泽度较差，进而使织品的质地呈现较粗糙且具重量的质感，极得宋代写生小品画意。 内容简介（中文）： 缂丝是以简单的平纹木机所织成的一种丝织品，与一般丝织品通经通纬的织造方式不同，采通经断纬的方法来织造。先将经线固定，依图案设计的需要，以不同色线作纬线，来回穿梭于图形的经线之间。由于不同色线所织的图形间，彼此不相关联，图案形状周围会留下锯齿状的空隙，因此缂丝又称为刻丝。宋代缂丝，设色典雅，技术精巧，是缂丝的黄金时代。此幅刻织秋天池塘一景，莲蓬上立一翠鸟，神情专注地俯视水中游鱼，而小鱼却不知大难临头，仍悠游于水草间，微风轻吹着莲叶，富戏剧张力。此幅设色精雅，织工技艺高超，观察入微。利用色线表现水的深浅、鱼草之游动，荷叶瓢虫，均栩栩如生，极得写实画意。为宋缂丝精彩之作。本幅为「宋元集绘册」第一幅。（童文娥） 内容简介（中文）： 浅褐色地设色织。秋荷莲蓬上立一翠鸟，神情极其专注俯视水中游鱼。此幅设色精雅，织工技艺高超，观察入微。运丝如运笔，利用色线表现水之深浅，鱼草之游动，荷叶瓢虫，均栩栩如生，极得写实画意，为宋缂丝册页中无上佳作。本幅为「宋元集绘册」第一幅。 内容简介（英文）： Against a light ochre background stand lotus plants with the stem of one weighted down by a kingfisher. In this autumn scene, the bird focuses intently on the fish swimming among the water plants below. The refined coloring and detailed workmanship of this tapestry create for a convincingly realistic effect. No detail of this masterpiece has been overlooked, including the small insect, delicate turning of forms in space, and suggestion of depth. This is the first leaf from the album Sung Yüan chi-hui ts’e. 内容简介（英文）： Woven in colors against a light ochre background is this tapestry of a scene from a lotus pond in autumn. A kingfisher is shown perched on a lotus stem looking down with eyes fixed on the fish swimming in the water below. The nimble features of the kingfisher, known for its angling abilities, have been portrayed remarkably true to life, while the water plants, lotus leaves, and leisurely fish are also quite lifelike, adding a sense of naturalness to this work.The colors here are elegant and realistic. Although the main hues are blue and green, their separation is very refined. The treatment of light and dark colors in the lotus leaves, stems, and water plants are also exceptionally original. The weft threads here appear to be hemp or tussah silk, thus accounting for the relatively lackluster appearance, while the material in the weaving is coarser and heavier. The weaving, however, is compact and detailed for a serene scene from life much in the painterly manner of intimate “sketching-from-life” works of the Sung dynasty.This is the first leaf in the album “Collected Paintings of the Sung and Yüan.”