| 文物統一編號 |
故畫000518N000000000
|
| 作品號 |
故畫00051800000 |
| 品名 |
明文徵明倣古山水 軸
Landscape in the Style of an Ancient Master |
| 分類 |
繪畫 |
| 作者 |
文徵明 |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
文徵明
印記 expand_more
|
本幅 |
青山稠疊水漣漪。映樹蘭舟晚更移。一縷茶烟衝宿鷺。無人知是陸天隨。徵明。 |
草書 |
|
|
|
| 印記類別 |
印主 |
印記 |
| 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 |
|
|
| 次要主題 |
樹木 |
|
|
| 次要主題 |
樹木 |
柏 |
|
| 其他主題 |
人物 |
高士（士人、隱士） |
高士 |
| 其他主題 |
山水 |
山徑 |
|
| 其他主題 |
山水 |
江河、湖海 |
江河 |
| 其他主題 |
建築 |
寺廟 |
|
| 其他主題 |
建築 |
房舍 |
|
| 其他主題 |
建築 |
茅草屋 |
|
| 其他主題 |
建築 |
橋 |
|
| 其他主題 |
建築 |
籬笆、圍牆 |
|
| 其他主題 |
船 |
|
|
| 類別 |
參考資料 |
| 內容簡介 |
文徵明（西元一四七○－一五五九年），江蘇長洲人。初名壁，字徵明，後以字行，亦字徵仲，號停雲生、衡山居士。詩文書畫並佳，畫師沈周，為明四大家之一。本幅兩岸長林，溪水從樾蔭下流出，一人棹舟徜徉其間，背山高聳，積石瘦峭，構景用筆，皆精到老練，依文氏風格發展，應作於一五四九年。青綠設色，置重彩於山巒頂端突出處，而皴法可見，這是典形的皴上敷彩，顯示文人畫興起以後，重視筆墨，色彩之表現，僅提示青山稠疊。這種青綠設色法，為數頗多的畫家均採用。
|
| Description |
Landscape in the Style of an Ancient Master Wen Cheng-ming (1470-1559) Ming Dynasty Wen Cheng-ming (style name Cheng-chung, sobriquet Heng-shan chu-shih) was a native of Ch’ang-chou, Kiangsu. When he was fifty-three, he went to Peking to serve as an academician in the Hanlin Academy. He eventually grew disillusioned with the life of an official in Peking, returned to his hometown, and took up the life of a literatus. He excelled as a poet, essayist, calligrapher, and artist, and became a leader in the artistic community of Suchou. Trees cover the banks of a stream while a scholar enjoys a leisurely moment in a boat. Mountains rise up with precipitous rocks in the background. The composition and the brushwork reveal a maturity in handling which suggests that Wen Cheng-ming painted this around 1549. Wen Cheng-ming has added heavier colors to the rocks and peaks which jut out, but he has also built up his forms with texture strokes. This is an example of the blue-and-green landscape style in which texture strokes are combined with colors. This type reveals the literati preference for ink and brushwork, where the blue and green colors were used mainly to accentuate the overlapping peaks. Many artists adopted Wen Cheng-ming’s method of painting such blue-and-green landscapes.
|
| Description |
This archaic landscape work blends the techniques of heavy blue-and-green colors with monochrome ink. Only the mountaintops and details of the rocky faces are covered with light washes of mineral blue and green. Since the heavy colors have been much reduced, this is known as a “minor blue-and-green” landscape. Wen Cheng-ming was a native of Soochow, Kiangsu. Early on, he aspired to be an official but later gave up his career to return home, where he focused on poetry, prose, painting, and calligraphy, becoming a leading figure in middle Ming Soochow art circles. Wen's path in painting was varied as he transformed Sung and Yuan dynasty (10th-14th c.) traditions to create his own style, thus inspiring many later generations.
|
| 參考書目 |
吳誦芬、童文娥、譚怡令，〈明文徵明倣古山水 軸〉，收入《明四大家特展－文徵明》（臺北：國立故宮博物院，2014.03），頁140-141、327。
|
| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁387
|
| 收藏著錄 |
故宮書畫圖錄，第七冊，頁149-150
|
| 參考書目 |
1.王耀庭，〈明文徵明倣古山水〉，收入王耀庭編，《青綠山水畫特展圖錄》（臺北：國立故宮博物院，1995年七月初版一刷），頁90。
2.江兆申，〈文徵明仿古山水 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315。
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