| 文物統一編號 |
故畫002214N000000000
|
| 作品號 |
故畫00221400000 |
| 品名 |
明陳淳崑璧圖 軸
Kun Stone |
| 分類 |
繪畫 |
| 作者 |
陳淳 |
| 創作時間 |
明世宗嘉靖二十二年（1543） |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
陳淳
印記 expand_more
|
本幅 |
久不入城府。緣有山水之癖。今日偶過龍泉山房。坐玩水石。種種可愛。中有崑璧。□景尤奇。主人見余酷嗜。因割贈余。余愧奪人所好。故寫此紙謝之。余得奇玩。固可喜矣。主人得此。亦可少慰乎。將為文社中一段故事耳。嘉靖癸卯（1543）八月四日。道復志。 |
行書 |
|
| 印主 |
印記 |
| 陳淳 |
大姚 |
| 陳淳 |
白陽山人 |
| 陳淳 |
復生印 |
|
| 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 |
嘉慶鑒賞 |
| 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 |
奇石 |
|
| 其他主題 |
花草 |
|
|
| 其他主題 |
器用 |
花器 |
盆 |
| 類別 |
參考資料 |
| 內容簡介 |
陳淳（西元一四八三－一五四四）江蘇長洲人，字道復，又字復甫，號白陽山人。精於經學、詩文、書法、篆籀。好畫事，曾師事文徵明，善作米家山水，更善於寫意花卉，才氣縱橫，不拘於師門。王世貞評其花鳥畫與沈周、徐渭、周之冕並立為明代四大家。本幅但用墨畫，景物簡單，描寫盆、座、水石、小樹及雜草等的用筆不多，而卻能一一表現其質感。至於石上用焦墨點苔的方法是受沈周的影嚮，都淵源於王蒙的作風。而畫面上方長篇題字的作風則源自沈周。癸卯（一五四三），陳淳六十一歲。
|
| 內容簡介 |
本幅用墨畫，景物簡單，描寫盆、座、水石、小樹及雜草等，用筆不多，卻能一一表現其質感。構圖沉穩，用筆力道十足，幾乎無一敗筆。至於石上用焦墨點苔的方法是受沈周（一四二七－一五○九）的影響，都淵源於王蒙（一三○八－一三八五）的作風。而畫面上方長篇題字的作風則源自沈周。據題識所稱，此畫成於嘉靖癸卯（一五四三）年，是年陳淳六十一歲，為答謝朋友送他的一座盆景而作。(20100105)
|
| Description |
This monochrome ink painting depicts the simple scene of a potted stand with a miniature scene of water, rock, small tree, and plants. Despite the brevity of the brushwork, nothing is missing from their depiction or texture. The composition is very stable and the brushwork quite powerful with almost no weak strokes. The method of scorched ink to dot the lichen reflects the influence of Shen Zhou (1427-1509) and can be traced back to the style of Wang Meng (1308-1385). And the style of Chen’s calligraphy in his inscription at the top also can be traced to the style of Shen Zhou. According to the inscription, this work was done in 1543, when Chen was 61 by Chinese reckoning. It is in gratitude to a friend for sending him a potted arrangement.(20100105)
|
| Description |
Ch’en Ch’un was a native of Ch’ang-chou, Kiangsu. A skilled poet and calligrapher, he was also an accomplished painter. Initially he adopted the style of Wen Cheng-ming but later found the misty landscapes of the Mi tradition more compatible with his taste. In his later years he painted flowers and plants in an expressive manner. Ch’en was a talented, innovative artist who did not confine himself to copying the styles on which his own work was based.
Using only ink, ch’en has defined a simple composition; a decorative rock is set vertically within a shallow basin which sits on a low stand; twigs and grass surround the rock and complete the arrangement. For the vertical rock Ch’en used dots of dark ink, a technique derived from Shen Chou, but which stems ultimately from the works of the Yuan dynasty artist Wang Meng. Above the painting is a long inscription written by the artist. The painting was completed in 1543 when Ch’en was sixty years old.
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| 收藏著錄 |
石渠寶笈三編（御書房），第七冊，頁3115
|
| 收藏著錄 |
故宮書畫錄（卷八），第四冊，頁81
|
| 收藏著錄 |
故宮書畫圖錄，第七冊，頁225-226
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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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