| 文物統一編號 |
贈畫000496N000000000
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| 作品號 |
贈畫00049600000 |
| 品名 |
清朱若極梅竹 軸
Plum Blossoms and Bamboo |
| 分類 |
繪畫 |
| 作者 |
朱若極 |
| 數量 |
一 軸 |
| 位置 |
尺寸(公分) |
| 全幅 |
147x45.4 |
| 本幅 |
76.2x31.6 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
朱若極
印記 expand_more
|
本幅 |
𨛇得春風十萬株。枝枝照我醉模糊。暗香觸處醒辭客。絕色開時伴老夫。無以復加情欲洩。不能多得熱還孤。曉來搔首庭前看。也當人間一宿儒。渾朴風流各擅長。橫空隱逸總無妨。天邊皓月真情性。水上輕煙破渾茫。一卷詩成如可對。百年面冷恰相當。澹中滋味惟吾有。莫恠癡人坐夕陽。清湘遺人大滌子極。 |
行書 |
|
|
|
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
|
古歙程氏珍藏 |
| 收傳印記 |
林宗毅 |
志超鑑賞 |
| 收傳印記 |
林宗毅 |
定靜 |
| 收傳印記 |
林宗毅 |
定靜堂收藏印 |
| 收傳印記 |
|
朗盦七十以後所得 |
| 收傳印記 |
林熊光 |
寶宋室 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
花草 |
梅（白．紅．蠟梅） |
|
| 主要主題 |
樹木 |
竹 |
|
| 類別 |
參考資料 |
| 內容簡介 |
石濤（西元一六四二－一七０七年），廣西桂林人。本名朱若極，號大滌子等，為明代楚藩後裔。明亡後為僧，法號元濟、道濟，遊歷安徽宣城，隱居金陵、揚州等地。
這幅梅竹為林宗毅先生所捐贈，極具水墨氤氳的效果，有被雨洗過的感覺。畫梅花沒有繁枝密卉，而以鈍筆潤墨、簡單的筆畫，表現梅花的清雅高潔；畫竹則以濃淡分明的墨色，畫出竹的前後層次。
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| 內容簡介 |
石濤（西元一六四二—一七○七年），廣西桂林人。本名朱若極，號大滌子等，為明代楚藩後裔。明亡後僧，法號元濟、道濟。遊歷安徽宣城，隱居金陵、揚州等地。
此幅為林宗毅先生捐贈。畫梅花沒有繁枝密卉，而以鈍筆潤墨、簡單的筆畫來表現梅花的清雅高潔；畫竹則以濃淡分明的墨色，畫出竹的前後層次。全幀極具水墨氤氳的效果，頗有雨勢初停，梅竹都剛被雨水洗滌過的感覺。
|
| Description |
Shitao, a native of Guilin in Guangxi, was originally named Zhu Ruoji and had the sobriquet Dadizi. He was a member of the imperially related clan in the Chu vassal state during the Ming dynasty. After the Ming fall, he became a Buddhist monk and took the Buddhist names Yuanji and Daoji. He traveled to Xuancheng in Anhui and also lived in reclusion in Jinling and Yangzhou.
In this work donated to the National Palace Museum by Mr. Lin Zongyi, the plum blossoms were not done as numerous branches and dense blossoms, but instead with blunt brushwork and moist ink to render in simple strokes the lofty purity and elegance of the plum blossom. The painting of the bamboo, on the other hand, was done with stark contrasts of light and dark ink to form layers of bamboo front and back. The entire work has the effect of being enshrouded in ink, as if a rain has just ended, making the bamboo and plum blossoms appear to have been just cleansed by the rain.
|
| Description |
Shih-t’ao, a native of Kweilin in Kwangsi, was the style name of Chu Juo-chi. A Ming imperial descendant, he became a monk after the fall of the Ming and took the names Yuan-chi and Tao-chi. He traveled to Hsuan-ch’eng in Anhwei, and he also lived in reclusion at Chim-ling and Yangchow.
In this work donated to the Museum by Mr. Lin Tsung-i, the scene has the utmost effect of being shrouded in watery ink, as if just washed by a drenching rain. The plum tree is not rendered with complex branches or dense blossoms, but blunt brushwork and moist ink using simple strokes. This brings out their purity and elegance. The bamboo, however, was done with distinctions between light and dark, revealing gradations from front to back.
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| 參考書目 |
1.劉芳如，〈清石濤梅竹雙清〉，收入國立故宮博物院編輯委員會編，《畫梅名品特展》（臺北：國立故宮博物院，1991年元月初版），頁97-98。
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| 收藏著錄 |
林宗毅先生捐贈書畫目錄，頁18-19、113
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本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理
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