| 文物統一編號 |
故畫000440N000000000
|
| 作品號 |
故畫00044000000 |
| 品名 |
明沈周蒼厓高話圖 軸
Hoary Cliffs and Lofty Phrases |
| 分類 |
繪畫 |
| 作者 |
沈周 |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
沈周
印記 expand_more
|
本幅 |
長松落落不知暑。高坐兩翁無俗情。琴罷清談猶半餉。不妨新月印溪明。長洲沈周。 |
行書 |
|
|
|
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
|
一印漫漶不識 |
| 收傳印記 |
|
玄賞 |
| 收傳印記 |
|
坡隱 |
| 收傳印記 |
|
駢邑馮（半印） |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
御書房鑑藏寶 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
山水 |
|
|
| 主要主題 |
樹木 |
松 |
|
| 次要主題 |
人物 |
高士（士人、隱士） |
二人 |
| 次要主題 |
山水 |
江河、湖海 |
江河 |
| 次要主題 |
建築 |
亭 |
|
| 其他主題 |
器用 |
文玩（琴棋書畫） |
琴 |
| 其他主題 |
樹木 |
|
|
| 技法 |
技法細目 |
| 人物衣紋描法(減筆) |
|
| 皴法 |
披麻皴 |
| 皴法 |
斧劈皴 |
| 寫意 |
|
| 類別 |
參考資料 |
| 內容簡介 |
沈周（西元一四二七至一五○九年），恆吉之子，字啟南，號石田，江蘇長洲人。工書善詩文，畫為明四大家之一。 沈周學元四家畫，對吳鎮用力最久，所得最深，故沈周本色畫中，每每能見胎息之所自。本幅全學仲圭（吳鎮），下筆圓渾而含蓄，用墨濃至而雄厚。雖布景無多，而山林清爽之氣，使人就之如可挹。
|
| 內容簡介 |
沈周（西元一四二七－一五○九年），長洲人。字啟南，號石田，亦稱白石翁。山水花卉禽魚悉入神品，工書善詩，為明四大家之一。 絹本仿吳鎮，下筆草草若不經意，而筆極挺健。長松三株，兩翁坐松下，旁置琴。背山高聳，崖下茅亭，闃然虛靜。對山惟見山嘴，而小樹旁出，其下橫筆作水紋。經山林映襯，覺一片澄虛，如在真境。畫有雖著意而不能工，草率中反饒韻致者。此幅不署年款，以書畫作風而論，大約在七十歲時。
|
| Description |
Hoary Cliffs and Lofty Phrases Shen Chou (1427-1509) Ming Dynasty This painting on silk follows the style of Wu Chen (1280-1354). The brushwork is quick and spontaneous, the strokes blunt and forceful. Two old men are seated beneath three tall pines; a lute lies to one side. Behind them is a lofty mountain with a thatched pavilion at its base, deserted and quiet. Facing the mountain is an outcropping of rock with two small trees growing from it. Below, patterns of water have been indicated with a slanted brush. The mountains and trees are placed in a clear spatial relationship, creating a smooth recession that is very realistic. The painting is strong and avoids all hint of delicate skill. On the contrary, the very spontaneity of the brush is full of resonance. The painting is not dated, but judging from the style of the painting and calligraphy, it was probably executed around 1496, when Shen Chou was 69 years old.
|
| Description |
Lofty Conversation on a Luxuriant Cliff Shen Chou (1427-1509) Ming Dynasty Shen Chou, style name Ch’i-nan, sobriquet Shih-t’ien was born into a distinguished and well-to-do family of Soochow scholars and artists. He did not seek an official career in government, but chose a quiet life devoted to his interests in poetry, painting and calligraphy. He is one of the Four Great Masters of the Ming. In studying the paintings of the Four Masters of the Yuan dynasty, Shen Chou paid much attention to the works of Wu Chen. Consequently he attained a profound understanding of Wu Chen’s style. Even when working in his own style, it is possible to discern the ultimate source of Shen Chou’s inspiration. Lofty Conversation on a Luxuriant Cliff was painted in the style of Wu Chen. There is variation in the use of the bursh; the ink is boldly and vigorously employed. Although the background is rendered simply, the spirit of the mountains and trees is lucidly rendered enabling one to recognize the origin of the style.
|
| 參考書目 |
何炎泉、陳階晉、陳韻如，〈明沈周蒼厓高話圖 軸〉，收入《明四大家特展-沈周》（臺北：國立故宮博物院，2014.01），頁88-91、315-316。
|
| 收藏著錄 |
石渠寶笈初編（御書房），下冊，頁1142
|
| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁319
|
| 收藏著錄 |
故宮書畫圖錄，第六冊，頁213-214
|
| 參考書目 |
1.何傳馨，〈明沈周蒼崖高話〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁98。
2.江兆申，〈沈周蒼厓高話 軸〉，收入國立故宮博物院編，《吳派畫九十年展》（臺北：國立故宮博物院，1975年初版，1976年再版，1981年三版），頁299。
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