| 文物統一編號 |
故畫000548N000000000
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| 作品號 |
故畫00054800000 |
| 品名 |
明居節畫江南春 軸
Spring in Jiangnan |
| 分類 |
繪畫 |
| 作者 |
居節,Ju Jie |
| 創作時間 |
明世宗嘉靖十年（1531） |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
居節
印記 expand_more
|
本幅 |
江南春。（篆書）。（第一則）象床凝寒照藍筍。碧幌蘭溫瑤鴨靜。東風吹夢曉無蹤。起來自覓驚鴻影。彤簾霏霏宿餘冷。日出鶯花春萬井。莫怪啼痕棲素巾。明朝紅嫣飛作塵。（第二則）春日遲。春波急。曉紅啼春香霧濕。青華一失不再及。飛絲營空眼花碧。樓前柳色迷城邑。柳外東風馬嘶立。水中荇帶牽柔萍。人生多情亦多營。嘉靖辛卯（西元一五三一年）四月幾望。商谷居節。 |
篆書 |
|
|
|
| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清內府印 |
宜子孫 |
| 鑑藏寶璽 |
宣統帝 |
宣統御覽之寶 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶鑑賞 |
| 鑑藏寶璽 |
清仁宗 |
寶笈三編 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
山水 |
春景 |
|
| 其他主題 |
山水 |
江河、湖海 |
江河 |
| 其他主題 |
山水 |
瀑布 |
|
| 其他主題 |
建築 |
房舍 |
|
| 其他主題 |
樹木 |
|
|
| 其他主題 |
樹木 |
楊柳 |
|
| 類別 |
參考資料 |
| 內容簡介 |
居節（活動於西元一五三一至一五八五年前後），字士貞，號商谷，江蘇吳縣人，文徵明的高足。尚氣節，雖窮困，仍以丹青自娛。繪畫風格得文徵明心傳。書法、詩詞也很好。一部份來自趙孟頫、陸放翁。後人珍賞他的畫，與朱朗、侯懋功相抗衡。 青綠設色畫綠波青嶂，纖草繁花。山中懸一瀑布，丘壑很多卻罕見人跡。用筆有力，方筆較多。畫上自題江南春詩一首，詞一首，書法也很好。整幅畫把江南的春天表現得淋漓盡致。本幅畫於辛卯（一五三一）年。
|
| 內容簡介 |
居節（活動於西元一五三一－一五八五年前後），字士貞，號商谷，江蘇吳縣人，以文徵明為師。尚氣節，雖窮困，仍以丹青自娛。繪畫風格得文徵明心傳。與朱朗、侯懋功相抗衡。書法、詩詞亦佳。
本幅畫於辛卯（一五三一）年。青綠設色，用筆有力，畫綠波青嶂，碧草繁花。
山中懸一瀑布，層疊丘壑，罕見人跡。畫上自題〈江南春詩〉一首。整幅畫將江南春天景象表現得淋漓盡致。
(20120103)
|
| Description |
Ju Jie (style name Shizhen, sobriquet Shanggu), a native of Wu (Suzhou) in Jiangsu, was a brilliant student of Wen Zhengming. Of great integrity, and despite poverty, he painted only for pleasure. His style was much influenced by Wen’s. Ranking with Zhu Lang and Hou Maogung, Ju’s calligraphy and poetry were also fine. This 1531 work was done in the “blue-and-green” style to depict waves and mountains with delicate grasses and luxuriant vegetation. A waterfall cascades from the mountains, and few signs of habitation are found in the many hills and ravines. The brushwork is powerful with much angular texturing. The artist inscribed on it a poem on spring in Jiangnan, portraying Jiangnan springtime with much moistness.(20120103)
|
| Description |
Chu Chueh, style name Shih-chen and sobriquet Shang-ku, was a native of the Soochow region of Kiangsu Province; he was the best student of Wen Cheng-ming. He was a man of great integrity, and although very poor, painted only for his own pleasure rather than for economic reasons. His painting style was very much influenced by that of Wen Cheng-ming. His poetry and calligraphy, which were modeled in part on the styles of Chao Meng-fu and Lu Yu, were also excellent. Later generations prized his work highly, considering him on a level with Chu Lang and Hou Mao-kung. Painted in the blue and green style, this painting depicts waves and mountains, delicate grasses and luxuriant vegetation. A waterfall cascades from the mountains; in the many hills and ravines there are few signs of human habitation. Chu’s brushwork is very powerful; he employs many angular texture strokes. The artist inscribed two poems entitled “Spring in Chiang-nan” in the upper right hand portion of the painting. The painting techniques are excellent, fully depicting the moist spring atmosphere of Chiang-nan. This work was completed in 1531.
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| 收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1970
|
| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁408
|
| 收藏著錄 |
故宮書畫圖錄，第八冊，頁125-126
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| 參考書目 |
1.〈明居節江南春〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁55。
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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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