书体:
色彩:
设色装裱形式:
轴创作时间:
明宣宗宣德二年（1427）文字类型:
质地:
本幅纸诗塘纸释文:
印记资料:
鑑藏宝玺：乾隆御览之宝题跋资料:
题跋类别：作者款识；作者：边文进；题跋位置：本幅；款识：宣德二年（西元一四二七年）春正。陇西边文进制。；书体：楷书；全文： 印记：景昭主题:
主要主题：节令与二十四节气年节岁朝；次要主题：花草梅（白．红．蜡梅） ；次要主题：花草兰．蕙 ；次要主题：花草水仙 ；次要主题：花草茶花 ；次要主题：花草天竺 ；次要主题：花草灵芝 ；次要主题：果蔬柿 ；次要主题：器用花器铜器花瓶；次要主题：器用如意 ；其他主题：树木松 ；其他主题：树木柏技法:
写意参考资料:
收藏着录： 石渠宝笈续编（宁寿宫），第五册，页2788 收藏着录： 故宫书画录（卷八），第四册，页75 收藏着录： 故宫书画图录，第六册，页79-80 参考书目： 1.〈传明 边文进 岁朝图〉，收入谭怡令、刘芳如、林莉娜主编，《满庭芳 历代花卉名品特展》（台北：国立故宫博物院，2010年十二月初版一刷），页70。 内容简介（中文）： 本幅作于明宣宗宣德二年（1427）春正，正当一年之始，除旧布新之时，以岁朝时节摆设厅堂的瓶插来表现庆贺之意。古朴的铜壶内插梅、兰、山茶、水仙、天竺、灵芝、松、柏、柿子、如意等十种花材，象征十全。瓶花的重心偏于下方，上方以梅干引向高处，虚实相应。笔墨沈稳，确有学习明初著名的宫廷花鸟画家边文进之意，但仍有差异，款字显是后人添加。 边文进（约1356-约1428），字景昭，福建沙县人，祖籍甘肃陇西。擅画花果、翎毛，画禽鸟极妙。(20110102) 内容简介（中文）： 边景昭（约活动于西元一三五六－一四二八年），字文进，福建沙县人，祖籍甘肃陇西人。边氏擅画花果、翎毛，画禽鸟极妙。初任职于永乐朝仁智殿，宣德间被授予武英殿待诏之职位。 此图款署宣德二年（一四二七），为厅堂中立型堂花样式，花材有松、柏、梅、兰、山茶、水仙、灵芝、天竺、柿子、如意，有十全的意思，花器为铜壶。整瓶花之重心在下半成半圆形，其上以梅干引向高远空间，虚实相应。惟其笔墨与边氏不类，款字为后人所增添。 内容简介（英文）： Pien Wen-chin’s original name was Ching-chao. He was a native of Sha-hsien, Frkien, though his family originally came from Lung-hsi, Kansu. He excelled at painting flowers, fruits, birds, and other animals. He first served in the Jen-chih Hall during the Yung-lo reign (1403-1424) and later in the Wu-ying Hall during the Hsüan-te era as a Painter-in-Attendance.In this painting, dated to 1427, is a vase of flowers and plants similar to one that would have been decorative a wealthy household in traditional China. Depicted here are branches of pine, cedar, plum blossom, orchid, camellia, narcissus, spirit fungii, dahlia, persimmon, and ju-i, representing the ten auspicious plants for a prosperous New Year. They rest in a semi-circle at the top of a bronze vessel. Though most of the branches appear at the rim of the vessel, the plum blossoms reach far up towards the top. The brushwork, however, differs from other known specimens from the hand of Pien Wen-chin, so the signature shown here is probably a later addition. 内容简介（英文）： This work was done at the beginning of the Lunar New Year in 1427. The start of a year is not only a time to bring in the new, it is also the season for decorating halls with vases of flowers to express an atmosphere of celebration. In the bronze vessel here are the branches of ten kinds of flowers, plants, and objects, such as the plum blossom, orchid, camellia, narcissus, dahlia, spirit fungus, pine, cypress, persimmon, and ruyi, symbolizing complete perfection. The center of gravity for the flower vase is low, so when the branch of plum blossoms extends high above, it creates a compositional contrast between solid and void. The brushwork is steady and mature, revealing the artist’s study of the style of Bian Wenjin, the famous early Ming dynasty court painter of bird-and-flower subjects. There are differences, however, indicating that the signature here is an obvious later addition.Bian Wenjin (style name Jingzhao) was a native of Shaxian in Fujian whose ancestors came from Longxi in Gansu. He excelled at painting flowers, fruits, and animals, being especially gifted at the depiction of birds.(20110102)
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