典藏單位:國立中正紀念堂管理處

館藏編號:PT09601503

邱敏華

尺寸:192.5x87.8x6.3(含框)

邱敏華，字寒香，台北瑞芳人，書畫家。師承李奇茂與杜簦吟，任台灣新世紀文化藝術協會理事長與中正紀念堂國畫班講師。作品被收錄於國父紀念館《中華當代名家書畫集》（1998）與歷史博物館《百家書畫集》（1999）之中。2005年受中正紀念堂邀請於「中日文化交流迎春特展」展出，並曾多次參加台、中、日、韓等國書法水墨聯展。
「喜鵲登梅」主題在中國傳統中富有吉祥寓意，梅花象徵春日到來，喜鵲則代表福氣與七夕傳說。民國以來，國畫家常以喜鵲梅花為主題，例如齊白石繪有多幅喜鵲登梅的作品，徐悲鴻繪有《喜上眉梢》（1935），可見民初畫家對此題材的喜愛。此外，從此連屏形式來看，國畫的條屏發展甚最，一般可分為獨景和通景兩類，通景有次序，而獨景內容間必須有所關聯，本作為通景。條屏一般為雙數，四條屏（或四連屏）就是四幅一組的畫，最少為兩條，最多可達十六條之多，以四條屏最為常見。
整套四連屏作品呈現梅花盛開的春日景象，既獨立又相互聯屬。四幅作品構圖手法類似，在梅花上搭配喜鵲，右起第一幅更表現出一家和樂融融的景象。鵲巢坐落於往右上生長的梅幹之上，兩隻成鵲將剛攜回捕到的小蟲，三隻幼雛則嗷嗷待哺，溫馨有趣。繁花盛開的紅梅，更有春意無限好兆頭的象徵寓意。（500字）

Ch'iu Min-hua, courtesy name Han-hsiang, was born in Ruifang Township, Taipei County. A painter and calligrapher, she has studied under Li Ch'i-mao and Tu Teng-yin, and serves as chair of the Taiwan New Century Cultural and Arts Association and as an instructor of Chinese painting at the Chiang Kai-shek Memorial Hall. Her works have been included in the National Sun Yat-sen Memorial Hall's “Collected Works of Contemporary Chinese Calligraphy and Painting Masters” (1998) and the National Museum of History's “Collection of Works by One Hundred Calligraphers and Painters” (1999). In 2005 Ch’iu was invited by the Chiang Kai-shek Memorial Hall to exhibit in the Sino-Japanese Cultural Exchange Spring Celebration Special Exhibition, and she has participated on multiple occasions in joint calligraphy and ink painting exhibitions in Taiwan, China, Japan, and South Korea.

The subject of "magpies on plum branches" carries auspicious symbolism in the Chinese tradition: the plum blossom represents the arrival of spring, while the magpie symbolizes good fortune and the legend of the Qixi Festival. Since the Republican era, Chinese painting creators have frequently used magpies on plum branches as a subject; for example, Qi Baishi painted many works on this theme, and Xu Beihong’s “Four Magpies” (1935) demonstrates the affection early Republican painters had for this subject. In terms of the format of this set of panels, the vertical screen form is highly developed in Chinese painting; it can generally be divided into the independent-scene and panoramic-scene types, the latter ordered sequentially, while the former requires conceptual coherence between panels. This work is a panoramic scene. Vertical screens generally come in even numbers, a four-panel screen consisting of four paintings in a group, with a minimum of two and a maximum of as many as sixteen, and four-panel screens being the most common.

The full four-panel set presents a springtime scene of plum blossoms in full bloom, each panel independent yet interconnected. The compositional approach across the four works is similar, pairing magpies with plum blossoms. The first panel from the right presents a scene of familial harmony: a magpie nest sits atop a plum branch growing toward the upper right, where two adult magpies have just returned with a small insect they have caught, while three chicks wait with open beaks to be fed, a scene both heartwarming and delightful. The profusion of red plum blossoms in full bloom further symbolizes the boundless promise and auspicious tidings of spring.