书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

明太祖洪武七年 (1374)

文字类型:

质地:

本幅纸

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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：宁寿宫续入石渠宝笈
鑑藏宝玺：乐寿堂鑑藏宝
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
收传印记：汝砺
收传印记：容若鑑藏
收传印记：李应祯印
收传印记：四明谢氏宝汉楼真赏

题跋资料:

题跋类别：作者款识；作者：朱芾；题跋位置：本幅；款识：夜牕剪烛听雨。偶阅叔升钱君所画古木寒鸦小景。不觉技痒。因写芦洲聚雁以配之。适友人黄德谦在座。曰似潇湘水云景也。昔年过二妃庙。今复观此图。恍若重游。但少苦竹翳深耳。馀遂添丛篠于其间。殊有天趣。幷赋诗一绝云。夜牕听雨话巴山。又入潇湘水竹间。湘浦冥鸿谁得似。碧天飞去又飞还。甲寅（西元一三七四年）春三月修禊日。朱孟辨在西掖记。；书体：隶书；全文： 印记：朱孟辨

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：癸未春日御题；书体：行书；全文：（乾隆癸未御题。诗文不录。）印记：干、隆题籤清高宗题籤 ；书体：行书；全文：朱芾芦洲聚雁图（能品）。印记：乾隆宸翰、稽古右文之玺

主题:

主要主题：树木竹 主要主题：树木杨柳 主要主题：翎毛雁 ；次要主题：山水  ；次要主题：花草芦苇 ；次要主题：山水江河、湖海河

技法:

皴法 

参考资料:

收藏着录： 石渠宝笈续编（宁寿宫），第五册，页2787 收藏着录： 故宫书画录（卷五），第三册，页273 收藏着录： 故宫书画图录，第六册，页27-28 参考书目： 1.朱惠良，〈明朱芾芦洲聚雁图〉，收入《云间书派特展图录》（台北：国立故宫博物院，1994年初版），页138。 内容简介（中文）： 朱芾（活动于西元十四世纪后期），江苏华亭人，字孟辨，号沧洲生，洪武初，以翰林编修改中书舍人。其人才思飘逸，善画芦雁，集潇湘水云之致，兼善山水及白描人物。工词章翰墨之学，真、草、隶、篆清润遒劲，风度不凡。尝以所书篆瘗之细林山中，题曰篆冢。朱芾为当时名士杨维祯之门生，甚受杨氏器重，曾讚芾能以仁义为脩，为其门之幸。本幅画芦洲聚雁，楷书画题，隶书识其作画经过，并赋七绝一首写其心境，笔法多变，结字错落，甚有奇趣。 内容简介（中文）： 朱芾，字孟辨，号沧洲生，江苏松江人。洪武（西元一三六八－一三九八年）初官至中书舍人，以工诗，善篆隶行草书法名于世。善画芦雁，兼写山水及白描人物。 本幅画潦水沙洲，枯柳岩石，群雁聚息芦丛情景，前人评为极得潇湘烟水之致。又据自题称，芦洲聚雁先画成，竹丛题跋系数年后所添加，是知亦为其自许之作品。 内容简介（英文）： Geese amid Rushes Chu Fu (fl. 1368-1398) Ming Dynasty Chu Fu had tzu (style name) Meng-pien and hao (sobriquet) Ts’ang-chou-sheng. He came from Sung-kiang in Kiangsu. He served as an Imperial Secretary during early Ming period. An excellent poet, he was also renowned for his calligraphy in the seal, clerical, semi-cursive, and cursive scripts. He was an accomplished painter of geese among reeds, as well of landscapes and of drawn figures. This painting shows an expanse of water extending over sandy banks. A flock of geese may be seen resting amid old willows and high rocks. Previous art-lovers have particularly appreciated his sensitive descriptions of water scenes. According to the artist’s inscription on this painting, when he had finished the original painting of geese and rushes, he added the bamboos and inscriptions many years later, on looking again at the work. This indicates the artist’s own satisfaction with his painting. 内容简介（英文）： Chu Fu (style name Meng-pien, sobriquet Ts'ang-chou-sheng) was a native of Hua-t'ing, Kiangsu. Early during the Hung-wu period (1368-1398), he held various official positions. He excelled in painting wild geese and reeds, and he was able to capture the misty, cloudy atmosphere of watery regions. He was also adept at painting figures in pai-miao (plain line drawing) and skilled in poetry, belleslettres, and calligraphy. His calligraphy in standard, cursive, clerical, and seal scripts was exquisite, elegant, and unusual. He once took some of his writings in seal script and buried them in a dense grove on a mountain, calling it a tomb of seal script. Chu Fu was a student of Yang Wei-chen who thought very highly of him and praised him saying that he brought honor to his home. On his painting of wild geese, Chu Fu used standard script for the title but clerical script to write about the process of painting this scroll. He also inscribed a poem expressing his emotions. His brushwork is highly varied, and the structure of his characters is a bit disorderly, creating an unususl impression.