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

释文:

印记资料:

题跋资料:

题跋类别：作者款识；作者：边文进；题跋位置：本幅；款识：景昭；书体：楷书；全文：

题跋类别：题跋；作者：梁诗正对幅臣梁诗正敬题；书体：行书；全文：（梁诗正行书题句。文不录。）印记：臣、诗正

主题:

主要主题：花草梅（白．红．蜡梅）白梅主要主题：翎毛黄鹛 

技法:

工笔 双钩 

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页736 收藏着录： 故宫书画录（卷六），第四册，页258 收藏着录： 故宫书画图录，第二十八册，页340-347 参考书目： 1.谭怡令，〈明边文进梅花幽鸟〉，收入谭怡令编，《吕纪花鸟画特展》（台北：国立故宫博物院，1995年初版），页98。2.刘芳如，〈明边文进梅花幽鸟〉，收入国立故宫博物院编辑委员会编，《画梅名品特展》（台北：国立故宫博物院，1991年元月初版），页88。3.谭怡令，〈明边文进梅花幽鸟〉，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90-91。 内容简介（中文）： 边文进，生卒年不详。字景昭，福建沙县人。永乐（西元一四０三至一四二四年）间召至京师，授武英殿待诏，宣德（西元一四二六至一四三五年）间仍供事内殿。博学能诗，善画花果翎毛，为其后吕纪等人师法的匠师。　本幅扇面，款署「景昭」二字，似有涂抹之痕迹。图中画一山雀站在梅枝引颈长鸣的情景，鸟身羽毛的松活、枝干的老坚，都极为逼眞传神，画技相较宋人也未见逊色。　本幅为「历代名绘」册第十六开。 内容简介（中文）： 边文进（活动于西元一四０三－一四二八年），名景昭；以字行。福建沙县人，祖籍甘肃陇西。明初花鸟院画家中，以边氏最为有名，画翎毛花果皆极精妙。永乐朝任职于工部文思院，直谨身殿待诏；宣德间被授予武英殿待诏官衔。其花鸟画曾被誉为「禁中三绝」之一。　本幅绘白梅盛开，枝干曲虬横出，画中一黄眉鹀引颈顾望栖于枝上，逼眞传神。此扇面无论题材、构图、设色均存南宋院画意趣；画梅枝用笔与边氏「三友百禽」颇为近似，画幅上遗有「景昭」之署款。 内容简介（英文）： Plum Blossoms and Solitary BirdPien Wen-chin (act. ca. 1403-1428)Ming DynastyPien Wen-chin was named Ching-chao but used his style name Wen-chin as his personal name. He was a native of Sha-hsien, Fukien province, though his ancestral home was in Lung-hsi, Kansu province. He was the most famous bird-and-flower painter at the early Ming court, and his paintings are truly exquisite. During the Yung-lo period (1403-1424), Pien Wen-chin served in the Crafts Institute of the Ministry of Works, and then became a Painter-in-Attendance in the Ching-shen Hall. During the Hsüan-te period (1426-1435), he was appointed Painter-in-Attendance in the Wu-ying Hall.A twisted branch of white plum blossoms in full bloom stretches across the composition. A yellow-browed bunting perched on the plum branch cranes its neck. Pien Wen-chin captured not only the lifelike appearance but also the spirit of the bird. In terms of subject matter, composition, and coloration, this fan painting is reminiscent of the evocative qualities of Southern Sung court paintings. The brushwork in the plum branch is very similar to that in The Three Friends and One Hundred Birds also by Pien Wen-chin, and this painting also bears the signature “Ching-chao.” 内容简介（英文）： Pien Wen-chin, style name Ching-chao, was a native of Sha County, Fukien. He was summoned to the capital during the Yung-lo era (1403-1424), where he served as a Painter-in-Attendance in the Wu-ying Hall. During the reign of the Hsüan-te Emperor (r. 1426-1435), he served in the Inner Court. He was an accomplished poet, and in the arts he excelled at flower and bird painting. He was considered the finest of the Ming Dynasty academy artists prior to Lü Chi (fl. ca. 1477-1497), who, along with many later artists, was greatly influenced by Pien. A yellow-throated bunting lifts its head in song as it perches on a branch of plum blossoms. The artist has communicated both the bird’s soft plumage and the tree’s weathered stiffness with convincing realism. The inkwork here is at least equal to the brush techniques of the Sung dynasty masters. The seal on this round fan, which has been mounted as an album leaf, bears the two slightly smudged characters “Ching-chao,” the artist’s style name.