书体:

色彩:

水墨

装裱形式:

卷

创作时间:

宋度宗咸淳元年（1265）

文字类型:

质地:

本幅纸拖尾纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：御书房鑑藏玺
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：司印（半印）
收传印记：杨氏家藏
收传印记：吴宽
收传印记：匏翁
收传印记：大明安国鑑定真迹
收传印记：天籁阁
收传印记：宫保世家
收传印记：墨林山人
收传印记：子孙世昌（重二）
收传印记：寄傲（重三）
收传印记：檇李
收传印记：项元汴印（重四）
收传印记：项子京家珍藏（重四）
收传印记：项墨林鑑赏章（重二）
收传印记：子京所藏（重三）
收传印记：墨林秘玩（重三）
收传印记：子京父印（重二）
收传印记：项墨林秘笈之印（重三）
收传印记：子孙永保（重一）
收传印记：平生真赏
收传印记：墨
收传印记：林
收传印记：退密（重二）
收传印记：檇李项氏士家宝玩

题跋资料:

题跋类别：作者款识；作者：牧溪；题跋位置：本幅；款识：咸淳改元（西元一二六五年）。牧溪。；书体：行书；全文： 印记：牧谿

题跋类别：题跋；作者：项元汴拖尾墨林项元汴书于天籁阁；书体：行书；全文：右宋僧法常。别号牧谿。喜画龙虎猿鹤芦雁山水树石人物。皆随笔点墨而成。意思简当。不假妆饰。馀仅得墨戏花卉蔬菓翎毛巨卷。其状物写生。殆出天巧。不惟肖似形类。并得其意。京（京字待查）爱不忍置。因述其本末。以备参考。墨林项元汴书于天籁阁。印记：墨林祕玩

题跋类别：题跋；作者：僧圆信拖尾径山千指菴圆信；书体：草书；全文：这僧笔尖上具眼。流出威音。那边鸟鹊花卉。看者莫作眼见。亦不离眼。思之。径山千指菴圆信。印记：圆信、雪峤

题跋类别：题跋；作者：查士标拖尾康熙癸酉上巳白岳逋客查士标；书体：行书；全文：宋僧牧谿。画兼众妙。而尤长于花卉写生。观画史所载。称其点墨而成。不假妆饰。尚未足尽牧谿也。卷中一花一叶。一蓏一实。皆极精致。有天然运用之妙。无刻画拘板之劳。而幽禽翠羽。动息飞鸣。曲肖其态。令观者心旷神怡。对之忘倦。宜项墨林氏珍为甲品。

题跋类别：题跋；作者：讚歎。若不容口。盖南渡而后。高孝累朝。笃重翰墨。一时人物熙雍。湖山引胜。风气兴起。即方外亦多名流。负技争长焉。明时王酉室陆包山皆以花卉写生。为世所重。今观此卷。二公俱寝食牧溪。深得其意者。至沈石田花鸟。点染又能出新意于诸家町畦之外。视此卷在离合之间。而工致差不逮矣。获观累日。因识其后。康熙癸酉上巳白岳逋客查士标。印记：士标私印、查二瞻、芥舟

主题:

主要主题：花草牡丹 主要主题：花草莲荷 主要主题：花草茶花 主要主题：花草芙蓉 主要主题：果蔬  主要主题：果蔬石榴 主要主题：果蔬柿 主要主题：果蔬板粟 主要主题：果蔬蔬菜 主要主题：果蔬南瓜 主要主题：果蔬笋 主要主题：果蔬枇杷 主要主题：果蔬莲蓬荷叶主要主题：果蔬菱角 主要主题：果蔬萝卜 主要主题：果蔬藕 主要主题：果蔬瓜 主要主题：果蔬葱 主要主题：果蔬小黄瓜 主要主题：树木竹 主要主题：翎毛八哥（鸲鹆） 主要主题：翎毛雉（锦鸡．雉类）雉主要主题：翎毛斑鸠珠颈斑鸠主要主题：翎毛麻雀 主要主题：花草石榴 ；其他主题：树木  ；其他主题：果蔬丝瓜 

技法:

写意 苔点 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1048 收藏着录： 故宫书画录（卷四），第二册，页38-39 收藏着录： 故宫书画图录，第十六册，页57-62 参考书目： 1.〈宋法常写生〉，收入国立故宫博物院编辑委员会编，《牡丹名画特展图录》（台北：国立故宫博物院，1987年四月初版），页38。 内容简介（中文）： 法常（约十三世纪），四川人，俗姓李，号牧谿，生卒年不详。住天台山万年寺，无准弟子，画龙虎、猿鹤、芦雁、山水、人物，皆随笔墨而成。笔意简当，不费装饰，遗迹多流日本。 此巨卷为法常墨戏花卉蔬果翎毛等，其状物写生，殆出天巧，一花一叶，皆极精致而无刻画拘板之迹。起首即画没骨水墨牡丹，幅中之花瓣及叶之重叠处皆以留白，取笔布墨，颇为雅致，于诸家町畦之外，又能出以新意。 内容简介（中文）： 法常（西元十三世纪），四川人，号牧谿。居天台山万年寺，善画龙虎、猿鹤、人物。笔墨简洁，不假装饰，作品多数流传于日本。 此卷墨绘花卉五种、蔬果十六种，及翎毛小景等。通幅俱以没骨法写生，虽观察入微，但笔致灵动，了无板刻之迹。款署：「咸淳改元（一二六五）牧谿。」拖尾并有项元汴、僧圆信、查士标题跋，与吴宽、董棨、梁章钜等人之收藏印。 内容简介（中文）： 法常（约13世纪），生卒年不详，四川人，俗姓李，号牧溪。住天台山万年寺，无准弟子，善画龙虎、猿鹤、芦雁、山水、人物，笔意简当，不费装饰，遗蹟多在日本。此长卷为法常墨戏，画各种花卉、蔬果、翎毛等。其状物写生，殆出天巧，一花一叶，皆极精致而无刻画拘板之迹。起首没骨水墨牡丹，幅中之花瓣及叶之重叠处皆留白，取笔布墨，颇为雅致，于诸家町畦之外，又能出以新意。(20110913) 内容简介（英文）： Fachang (birth and death dates unknown), a native of Szechwan, had the secular surname Li and the sobriquet Muqi. He was a monk residing at the Wannian Temple on Mt. Tiantai and a disciple of the famous abbot Wuzhun, painting dragons and tigers, gibbons and cranes, reeds and geese, landscapes, and figures. His use of brush and ink was pure and unadorned, with most of his surviving works now found in Japan.In this handscroll of ink play by Fachang, he has depicted all manner of flora and fauna. Sketched from life with exceeding directness and originality, each of the flowers and leaves is rendered in great detail without appearing mannered in the least. Executed essentially in the “boneless” (wash) method, the petals and leaves of the ink peony depicted here overlap, separated by small unpainted interstices. The ink is applied with sophistication and originality. (20110913) 内容简介（英文）： Fa-ch’ang, a native of Szechwan, is also known as Mu-ch’i. He was a monk and resided at the Wan-nien Temple on Mt. T’ien-t’ai, painting dragons, tigers, gibbons, cranes, and figures. His use of brush and ink was pure and unadulterated. Most of his surviving works are now found in Japan.This handscroll in monochrome ink includes 5 kinds of flowers, 16 vegetables and fruits, and birds and intimate scenery. Done in the “boneless” (ink-wash) sketching style, even close examination of the brushwork reveals no trace of stiffness. Signed “Mu-ch’i” and dated to l265, at the end are colophons by Hsiang Yüan-pien, Yüan-hsin, and Ch’a Shih-piao and collector seals of such figures as Wu K’uan, Tung Ch’i, and Liang Chang-chü. 内容简介（英文）： In this handscroll of painting from life, the monk Fa-ch’ang has depicted all manner of flora and fauna. Exceedingly lifelike, the flowers are drawn in great detail without appearing mannered. Executed essentially in the “boneless” (or unoutlined ) method, the petals and leaves of the ink peony depicted here overlap, separated by small unpainted interstices. The ink is applied with sophistication and originality.Fa-ch’ang, a disciple of the Buddhist master Wu-chün, lived at the Wan-nien (Ten-Thousand-Year) Temple at Mount T’ien-t’ai. In addition to his paintings of landscapes and human figures, he also made renditions of dragons, tigers, apes, cranes, and wild geese. His brushwork is simple and not overly done. Most of his works are preserved in Japan.