书体:

色彩:

装裱形式:

册(折装‧团扇式)

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：宣统御览之宝

题跋资料:

主题:

主要主题：翎毛八哥（鸲鹆） 主要主题：花草桃花 ；次要主题：草虫蜂 

技法:

织 

参考资料:

收藏着录： 国立故宫博物院缂丝，页15 收藏着录： 缂织风华：宋代缂丝花鸟展图录，页25-28 参考书目： 1.童文娥，〈缂丝八哥桃花〉，收入童文娥主编，《缂丝风华 — 宋代缂丝花鸟展图录》（台北：国立故宫博物院，2007年初版一刷），页25。 内容简介（中文）： 素地设色织。八哥一只，攀立在桃花枝上，侧头凝视着飞舞的蜜蜂。构图极为简单，缂工能得画意，花朵结构简单具图案化，却饶富生意，尤其以「掼」法和「掺和戗」法仔细缂织出天然的设色层次，将叶子的翻转与椭圆形花苞，表现得生动自然。此幅设色雅淡，织线疏密出入甚大，八哥腹部、颈部及桃枝皆有磨损，并以色补染堆叠在已断裂的丝线上，应是裱修时裱工后加，却不掩其技术的精巧，得宋代册页花鸟画意。 内容简介（中文）： 白地缂织八哥一只，攀立在桃花枝上，侧头凝视着飞舞的蜜蜂。此幅刻工能得宋人花鸟册页的画意，虽然在尾羽上较图案化，但不管是在八哥的眼神或姿态都相当写实逼眞。织线疏密间距较大，设色雅淡。在八哥腹部、颈部及桃枝都有磨损。本幅为「镂绘集锦册」第三幅。 内容简介（英文）： This image of a mynah bird is woven against a background of white silk. The mynah is perched on a blossoming peach branch with its head cocked as it stares at a bee buzzing about. The skill in weaving this tapestry reflects much of the bird-and-flower genre of painting in the Sung dynasty. Though the tail feathers are patternistic, the gaze and pose of the mynah are quite realistic. Though there is considerable looseness in the woven threads, the coloring is light yet elegant. The peach branch and belly as well as neck of the mynah appear to have been damaged at one point. This tapestry is the 3rd leaf from the album “Gems of Weaving”. 内容简介（英文）： The image of a mynah is woven in this tapestry of colored threads against a plain background. The bird is perched on the branch of a blossoming peach tree, turning its head to gaze at a bee buzzing around. The composition is straightforward but the weaving quite painterly. The structure of the blossoms is also simple and patterned yet full of life. In particular, the “flinging” and “join propping” weaving methods delicately portray the layers of color in a natural manner, realistically conveying the turning leaves as well as round blossoms and buds as they grow in a lifelike, natural way. The coloring in this work is light and elegant but exhibiting distinct differences in the density of woven threads. The body and neck of the mynah and the peach branch are all abraded. Colors were added in layers to mask the broken threads, probably reflecting a restoration from a previous remounting. theless, it still reveals a masterful technique also found in bird-and-flower album leaf painting of the Sung dynasty. This is the third leaf in the album “Collected Brocade of Carved Paintings.”