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册(折装‧方幅式)

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本幅绢对幅纸

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鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：周甲延禧之宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

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收藏着录： 石渠宝笈三编（延春阁），第四册，页1761 收藏着录： 故宫书画录（卷六），第四册，页30-32 收藏着录： 故宫书画图录，第二十二册，页166-171 参考书目： 1.本社，〈明孙龙写生册〉，《故宫文物月刊》，第66期（1988年9月），页4-16。2.谭怡令，〈明孙龙柔桑戴胜〉，收入谭怡令编，《画?珍禽》（台北：国立故宫博物院，1988年十月初版），页91。3.王耀庭，〈孙龙写生〉，收入国立故宫博物院编辑委员会编，《草虫画特展图录》（台北：国立故宫博物院，1986年初版），页72。4.刘芳如，〈中国古画里的草虫世界 — 「草虫天地」特展介绍（上）〉，《故宫文物月刊》，第220期（2001年7月），页21。5.〈明孙龙写生〉，收入国立故宫博物院编辑委员会编，《山水画墨法特展图录》（台北：国立故宫博物院，1987年七月初版），页66。 内容简介（中文）： 孙龙（15世纪），一名隆，字廷振，号都痴，江苏毘陵人。宣德间入值内廷，擅长翎毛、草虫，深得徐崇嗣没骨法、赵昌设色法、梁楷水墨写意法以及王渊之设色写意法之趣，为明代写生高手。 本册绘禽虫、花果、烟云等，共十二开。由于画绢上矾，故笔虽溼而色不晕开，在将干未干时，层加墨笔，颇有墨色淋漓之趣。孙隆充分发挥墨与色融合的特殊效果，使得花鸟画有了更丰富的表现技巧。(20110913) 内容简介（中文）： 孙龙（西元十五世纪），一作孙隆。字从吉，又字廷振，号都癡，武进（江苏常州）人。开国忠愍侯（兴祖，一三三六－一三七○）之孙。宣德间（一四二六－一四三五）入值内廷，官至侍御，后知新安府。幼颖异，有仙人气度。其画山水宗二米；画花鸟草虫，以彩色渲染，得徐崇嗣、赵昌没骨法，饶有生趣。 写意画烟山云树，富于水份之墨色，颇多层次，极具淋漓之感。一片蒙蒙岚气之中，云山缥缈，丛树幽深，倍觉空灵之美。 内容简介（中文）： 孙龙（西元十五世纪）是江苏武进人。宣德年间任职于宫廷，擅长画花鸟草虫。纯以墨彩点染的技法，虽然传承自北宋的「没骨」体，其实已经具备个人的特色。 本幅选自「孙龙写生姚公绶题合璧册」。画中的蜻蜓和豆娘，落笔轻松，彷彿不经意间挥洒而成，但却能充分掌握昆虫的动态及神情。而对页姚公绶的书法，同样落笔潇洒，书画两相呼应，更是在写生之外，平添了文人典雅的气息。 内容简介（中文）： 孙隆（西元十五世纪），一名龙，字廷振，号都痴（或曰小痴），江苏毘陵人。宣德间入值内廷，曾为金门侍御，后知新安府。作翎毛草虫，得北宋徐崇嗣没骨法、及赵昌设色法之趣，又能兼融南宋梁楷之水墨写意法，及元代王渊之设色写意法，为明代写生高手。 此册画绢已上矾，故笔虽溼而色不晕开，在将干未干时，层加墨笔，颇有墨色淋漓之趣。孙隆能充份发挥墨与色融合的特殊效果，使得花鸟画有了更丰富的表现技巧。 内容简介（中文）： 孙龙（十五世纪前半），一作孙隆，字廷振，号都痴。江苏武进人。宣德间入值内廷，兼擅翎毛、花卉、山水。其山水宗二米，花鸟草虫则多以彩墨渲染，能融合徐熙落墨花与赵昌没骨法而有所发展，对后世泼彩写意画深具影响。 本册绘禽虫、花果、烟云等，共十二开。因画绢涂有胶矾，故笔虽湿而色不晕散，极得墨沈淋漓的鲜活趣味。裱绫及对幅题记，分别为清仁宗、姚公绶所书。 内容简介（英文）： Sun Lung (style name t’ing-chen, sobriquet Tu-ch’ih of Hsiao-ch’ih) was a native of P’i-ling, Kiangsu province. He entered the Inner Court during the Hsüan-te reign and served as an official at Peking. Later he served in Hsin-an, Anhui. He specialized in painting birds and insects. He was adept at using the “boneless” method (mo-ku) of the Northern Sung artist Hsü Ch’ung-ssu and the coloring techniques of Chao Ch’ang. He was also able to incorporate Liang K’ai’s method of capturing the vitality of depicted objects through monochrome ink as well as Wang Yüan’s method of applying colors. Of Ming dynasty artists, Sun Lung was one of the most skilled in the techniques of “drawing from life.” Alum was applied to the silk of the album leaves, so that although the brush was heavily loaded with colors and water, the colors did not bleed. After this layer dried half way, another layer of wet, black ink was applied, creating the effect of dripping wet ink. Sun Lung was particularly gifted in incorporating both monochrome ink and colors, achieving the most exquisite results, enriching bird-and-flower paintings. 内容简介（英文）： This sketch of mist-filled mountains and cloud-covered forests, limned in watery ink applied in many layers, communicates a feeling of moisture and dampness. Clouds and mountains seem to float above the deep forest, creating a feeling of ephemeral beauty in an expanse of mist and haze. Sun Lung’s style-names were Ts’ung-chi and T’ing-chen; his sobriquet was Village Idiot. He was a native of Ch’ang-chou, Kiangsu. Sun, a child prodigy, was a grandson of Sun Hsing-tzu (1336-1370), who helped establish the Ming dynasty. In the Hsüan-te era (1426-1435) he served at court as an Attendant Censor and later served as Prefect of Hsin-an Prefecture. In his landscapes, Sun emulated the styles of the Northern Sung painters Mi Fu (1052-1107) and his son Mi Yu-jen (1072-1151). Sun’s paintings of flowers and birds and of grasses and insects were executed in washes of color in the “boneless,” or unoutlined, style of the early Northern Sung painters Hsü Ch’ung-ssu and Chao Ch’ang. 内容简介（英文）： Sun Long (style name Tingzhen, sobriquet Duchi) was a native of Piling in Jiangsu. He entered service at the Inner Court during the Xuande reign and specialized in painting birds and insects. Sun was adept at the “boneless” wash method of Xu Chongsi, the coloring technique of Zhao Chang, the method of “sketching ideas” in monochrome ink of Liang Kai, and the technique of “sketching ideas” in colors used by Wang Yuan. Among Ming dynasty artists, Sun Long was one of the most skilled at “sketching from life.” This album consists of twelve paintings of birds and insects, fruit, and clouds and mists. Alum was applied to the silk, so despite the brush being heavily loaded with colors and water, the colors did not bleed. Before they had dried, a layer of wet ink was also applied to create a dripping-wet effect. Sun Long was particularly gifted at the effect of fused ink and colors, achieving a most exquisite result that enriched his bird-and-flower painting.(20110913)