书体:

色彩:

设色

装裱形式:

轴

创作时间:

清穆宗同治十二年

文字类型:

质地:

本幅纸

释文:

印记资料:

收传印记：志超鑑赏
收传印记：定静堂印

题跋资料:

题跋类别：作者款识；作者：张熊；题跋位置：本幅；款识：吉葊二兄大人雅属。癸酉（西元一八七三年）秋七月杪。駌湖七十一老人子祥张熊写。；书体：行书；全文： 印记：子祥书画

主题:

主要主题：翎毛八哥（鸲鹆） ；次要主题：花草雁来红 ；次要主题：花草海棠（草）秋海棠 ；其他主题：花草菊 ；其他主题：草虫蚱蜢 

技法:

写意 皴法披麻皴苔点 

参考资料:

收藏着录： 林宗毅先生捐赠书画目录，页46、119 参考书目： 1.刘芳如，〈清张熊鸜鹆〉，收入刘芳如主编，《十九世纪末期中西画风的感通之二－－国立故宫博物院所藏同时期名家作品展》（台北：国立故宫博物院，1993年初版），页26。2.童文娥，〈近代绘画在中国 — 「十九世纪末期中西画风的感通」展出前言〉，《故宫文物月刊》，第119期（1993年2月），页11。 内容简介（中文）： 张熊（西元一八０三－一八八六年），秀水（今浙江嘉兴人）。字子祥，别号鸳湖外史，流寓上海。工花卉，纵逸似周之冕，古媚似王武。尤擅大幅牡丹，屏山巨幛，以寻丈计者愈见力量。兼作人物、山水、精篆刻，八分乃其馀技。平生收藏金石书画甚富，言所居曰银藤花馆。 画一鸜鹆衔蚱蜢，立于巨石之上，体态自然，顾盼有神。雁来红、菊花、秋海棠环绕四周，色彩缤纷清丽，颇有锦秋之趣。 本幅为林宗毅先生捐赠。 内容简介（中文）： 张熊（西元一八○三—一八八六年），秀水（今浙江嘉兴人）。字子祥，别号鸳湖外史，流寓上海。工花卉，纵逸似周之冕，古媚似王武。尤擅大幅牡丹、屏山巨幛。兼作人物、山水，又精篆刻，八分乃其馀技。平生收藏金石书画甚富，言所居曰「银藤花馆」。本幅为林宗毅先生捐赠，画一鸜鹆衔蚱蜢，立于巨石之上，体态自然，顾盼有神。雁来红、菊花、秋海棠环绕四周，色彩缤纷清丽，颇有锦秋之趣。 内容简介（英文）： Zhang Xiong (style name Zixiang, sobriquet Yuanhu waishi) was a native of Xiushui (modern Jiaxing, Zhejiang) but resided in Shanghai. Skilled at painting flowers and plants, his unrestrained style was similar to that of Zhou Zhimian and the archaic beauty of Wang Wu, both artists of the Ming dynasty. Zhang particularly was skilled at large renditions of peonies as well as ridges and peaks. He also did figures and landscapes, being gifted at seal carving and clerical script calligraphy. He collected paintings, calligraphy, and seals throughout his life, amassing a large collection and calling his abode the “House of Silver Wisteria.” This work, donated by Mr. Lin Zongyi to the National Palace Museum, depicts a mynah holding a grasshopper in its mouth while standing on a rock. The pose is natural as it gazes spiritedly. Blossoms of the Chinese amaranth, chrysanthemum, and cherry apple appear all around, the colors in riotous profusion yet pure and beautiful, making for a brocade of autumnal hues. 内容简介（英文）： Chang Hsiung (style name Tzu-hsiang; sobriquet Yüan-hu wai-shih) was a native of Hsiu-shui (modern Chia-hsing, Chekiang), but he spent most of his time in Shanghai. Chang was skilled at depicting flowers and plants. His unstrained style resembles that of Chou Chih-mien (ca.1542-1606) and its attractiveness resembles that of Wang Wu (1632-1690). Chang also depicted figure paintings, landscapes and was skilled in seal carvings and the pa-fen style of calligraphy. Throughout his life, he collected many paintings, calligraphy works, and seals. It is said that his abode was called the yin-t’eng hua-kuan (silver wisteria house). Perched atop a large rock, a mynah bird holds a grasshopper in its mouth. His pose is natural, and he gazes around spiritedly. Chinese amaranth, chrysanthemums and cherry-apple blossoms surround him. Chang’s colors are abundant and clear, and imbue the work with a brilliant flavor.This paintings was donated to the Museum by Mr. Lin Tsung-yi.