书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

收传印记：张爰之印
收传印记：大千居士
收传印记：漫漶不识（三方）

题跋资料:

题跋类别：作者款识；作者：殷宏 殷宏；书体：楷书；全文： 印记：金陵殷宏

主题:

主要主题：翎毛雉（锦鸡．雉类） ；次要主题：果蔬苹婆．林檎 ；次要主题：翎毛 秧鸡；其他主题：翎毛八哥（鸲鹆）九冠鸟；其他主题：翎毛腊嘴 ；其他主题：翎毛山雀 ；其他主题：花草红蓼 ；其他主题：花草萱花 ；其他主题：山水奇石 ；其他主题：山水江河、湖海 ；其他主题：水中动植物荇藻 

技法:

双钩 皴法雨点皴

参考资料:

收藏着录： 大风堂遗赠名迹特展图录，页57.91 参考书目： 1.谭怡令，〈明殷宏花鸟〉，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108-109。 内容简介（中文）： 本幅近景巨石上立双雉，上方苹婆树横出，缀以小型鸟类，远处坡岸为中景，构图显受明中叶花鸟画家吕纪影响，另皴染和轮廓线等笔法与用色亦然。惟更具装饰性，加上禽鸟如雉、九官、红冠水鸡等均成双，应有吉祥寓意。通幅的平面感，是殷宏特色，但笔墨稍弱，可能为一忠实的仿作。　殷宏，生卒年不详，约活动于明孝宗弘治（1488-1505）末期。善翎毛，风格介于边文进、吕纪之间。 大风堂捐赠于民国72年。(20120106) 内容简介（中文）： 殷宏，生卒年不详，可能活动于弘治（西元一四八八－一五○五年）末期，善画翎毛。溪畔巨石上立雉鸟两只，老树苹婆果实累累，自山岩斜出，山鸟成对上下栖息，雁鸭双双戏于水中。萱花、红蓼分别生长于巨石四周。观其画风有受吕纪、边文进影响，但此幅构图平板，笔墨色设少变化，禽鸟神韵亦不足。是图似较所见殷宏作品稍弱或为一忠实之仿作。本幅为大风堂捐赠。 内容简介（中文）： 本幅标名为殷宏之作，由大风堂捐赠。幅中之构图显有吕纪之影响，然更具装饰性。轮廓线条有边氏之意；至于皴纹处理中，皴树干之戳笔源自吕纪，而坡石所呈现出之平面感，则为其本身特色。但通幅之笔墨较殷宏向见之作为弱，故可能为一忠实之仿作。殷宏，生卒年不详，可能活动于弘治（西元一四八八－一五○五年）末期。善画翎毛，在吕纪、边文进之间。 内容简介（英文）： This painting, a gift from the Ta-feng-t’ang, the studio of Chang Dai-ch’ien, is attributed to Yin Hung. The composition shows Lü Chi’s influence but is more decorative. The handling of the contour lines reflects the artist’s knowledge of Pien Wen-chin’s style, and the texture strokes used for the tree branches are very much like the quick, dabbing method which Lü Chi employed. The flatness of the rocks, though, is a characteristic belonging to Yin Hung himself. The brushwork of Birds and Flowers, however, is much weaker than works generally accepted as by Yin Hung, so this is perhaps a close copy and not an original. There are very few details known about the biography of Yin Hung, but it is generally believed that he was active during the end of the Hung-chih period (1488-1505). He excelled in bird-and-flower painting and studied the styles of Lü Chi and Pien Wen-chin. 内容简介（英文）： Little is known about Yin Hung, but he is thought to have been active at the end of the Hung-chih era (1488-1505). Excelling at birds-and-flowers, he studied the styles of Lu Chi and Pien Wen-chin. In this work, two pheasants stand on a large rock by a stream. A tree bearing many fruit (sterculia lanceolata) grows overhead. Pairs of birds appear in the tree as two ducks swim in the water. Day lilies and smartweed are by the rock. The style here was influenced by that of Pien Wen-chin, but the composition is slightly stiffer, the brushwork flatter, and the birds less spirited. Thus, it may have been done after an original by Yin Hung. This work is a gift to the Museum from the Ta-feng-t’ang, the studio of Chang Dai-chien. 内容简介（英文）： On a rocky area in the foreground of this painting stands a pair of pheasants. Above a crabapple tree extends forth adorned with smaller birds. A distant shore is also in the middleground, the composition obviously influenced by the middle-Ming bird-and-flower painter Lü Ji, the brushwork in the wash texturing and outlines as well as colors likewise as such. However, it is more decorative, and with the addition of the pheasant, grackle, and red-crested waterfowl all appearing in pairs, it also has auspicious overtones. Overall flatness is a feature of Yin Hong’s works, but here the use of brush and ink is slightly weak, suggesting perhaps a faithful imitation.Yin Hong, birth and death dates unknown, was active around the late Hongzhi reign (1488-1505) of Emperor Xiaozong. He excelled at painting birds, his style lying between that of Bian Wenjin and Lü Ji.This work was donated to the National Palace Museum from the Ta-feng Hall collection of Mr. Chang Dai-chien in 1983.(20120106)