| 文物統一編號 |
故畫002146N000000000
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| 作品號 |
故畫00214600000 |
| 品名 |
明沈周溪橋訪友 軸
Crossing a Bridge to Visit Friends |
| 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 |
白下長洲不相及。詩篇往往動潛夫。暑街臺笠他年約。借看高軒臥雪圖。（豫齋中舍道及子昂臥雪圖。故云。）知問學之譽久矣。因立夫先生所附問訊。貞父必有教也。沈周。 |
行書 |
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|
| 題跋 |
清高宗
印記 expand_more
|
本幅 |
己丑（西元一七六九年）仲春月御題 |
行書 |
疊樹蘢䓗山岌峩。幽人家在白雲窠。不因世外煙霞契。誰復溪橋策杖過。己丑（西元一七六九年）仲春月御題。 |
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| 印記類別 |
印主 |
印記 |
| 收傳印記 |
項元汴 |
天籟閣 |
| 收傳印記 |
郭衢階 |
永存珍秘 |
| 收傳印記 |
安歧 |
安氏儀周書畫之章 |
| 收傳印記 |
項元汴 |
寄傲 |
| 收傳印記 |
陳定 |
陳定 |
| 收傳印記 |
項元汴 |
項子京家珍藏 |
| 收傳印記 |
項元汴 |
項元汴印 |
| 收傳印記 |
項元汴 |
項叔子 |
| 收傳印記 |
項元汴 |
項墨林鑑賞章 |
| 收傳印記 |
項元汴 |
檇李 |
| 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 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆鑑賞 |
| 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 |
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| 次要主題 |
建築 |
橋 |
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| 其他主題 |
山水 |
江河、湖海 |
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| 其他主題 |
建築 |
寺廟 |
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| 其他主題 |
器用 |
枴杖 |
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| 其他主題 |
樹木 |
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|
| 其他主題 |
樹木 |
寒林．枯樹 |
枯樹 |
| 技法 |
技法細目 |
| 人物衣紋描法(減筆) |
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| 苔點 |
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| 皴法 |
披麻皴 |
| 寫意 |
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| 類別 |
參考資料 |
| 內容簡介 |
沈周（西元一四二七－一五○九年），長洲（今江蘇蘇州人），字啟南，號石田，自稱白石翁，貞吉子。工書善詩文，書法黃庭堅，遒勁奇崛。山水少承家法，凡宋元名手，皆能變化出入。畫為明四大家之一。
溪畔長林，下蔭一橋，客紗帽策杖行橋上。對岸一山特起，方峻而皴筆無多。蓋自梅道人出。山陬林隙，寺宇微見屋脊。筆力蒼勁，墨色蒼潤，與早年乾筆細皴迥異其趣，而近於五十三歲之參天特秀圖。
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| 內容簡介 |
貞父有學問之譽，居白下，沈周往往獲見其詩，而未嘗晤談。適友人立夫將往白下，周作此圖以問訊貞父。溪畔長林，下蔭一橋，客紗帽杖行橋上。對岸一山特起，方峻而皴筆無多，蓋自梅道人出。其後文徵明畫，山之方峻者，往往胎息於此。山陬林隙，寺宇微見屋脊。筆力蒼勁，墨色蒼潤，與早年乾筆細皴迥異其趣，而近於五十三歲之參天特秀圖。所用三印，又與五十歲題林逋手札聯用三印全同。以畫論之，較參天特秀圖更為老練，因置之成化庚子（一四八○），沈周五十四歲。
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| Description |
1480 / Shen Chou Crossing a Bridge to Visit Friends / Chen Fu, who lived in Nanking, was widely known for his erudition. Shen Chou had often read his poems but they had never met. Shen did this painting to send to Chen Fu via a friend, Li Fu, who was going to Nanking. A broad path winds through a tall forest to a shaded bridge; a traveller with hat and staff is crossing the bridge. A mountain rises abruptly from the far bank; it is angular and steep, without many texture strokes, done in a manner derived from Wu Chen. Later, Wen Cheng-ming also used this type of mountain in his paintings. Among the distant mountains and dense forest, a temple roof can be seen. The brush is strong and mature, the ink tones wet and hoary, contrasting with the dry brush and meticulous texturing of Shen Chou’s early works. The style is close to that of “Virtue which Reaches to Heaven”, which was painted when he was 52. The three artist’s seals on the painting are exactly like those which appear on Shen’s colophon on Lin P’u’s calligraphy, which he wrote in his 49th year. The painting itself is more fully mature than “Virtue which reaches to Heaven”. Shen Chou was about 53 years old when he painted “Crossing a Bridge to Visit Friends”.
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| Description |
Shen Chou was a native of Soochow, Kiangsu. He was a skilled poet and calligrapher; his calligraphy, strong and unusual, was modeled after Huang T’ing-chien (1045-1105). His landscape paintings at first followed his family style. Later he was able to transform the styles of Sung and Yuan to create something truly individual. Shen Chou is considered one of the Four Masters of the Ming.
A scholar with hat and staff walks across a bridge under the shade of woods by a stream and fields. Facing the bank, a steep mountain rises, its interior left mostly unmodelled with texture strokes; this is a style derived from Wu Chen. Between mountains and forests, the roofs of temples are faintly made out. The brushwork is strong and the ink rich and hoary. The style is unlike his early work, which presents dry brushwork and fine texturing, and appears closest to a work which Shen Chou painted at the age of fifty-two.
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| 收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1786
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| 收藏著錄 |
故宮書畫錄（卷八），第四冊，頁77
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| 收藏著錄 |
故宮書畫圖錄，第六冊，頁253-254
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| 參考書目 |
1.江兆申，〈沈周谿橋訪友 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296。
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| 參考書目 |
何炎泉、陳階晉、陳韻如，〈明沈周溪橋訪友 軸〉，收入《明四大家特展-沈周》（臺北：國立故宮博物院，2014.01），頁34-37、308-309。
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