參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈初編(攸芋齋),下冊,1183-1185
|
|
收藏著錄 |
故宮書畫錄(卷四),第二冊,頁289-293
|
|
收藏著錄 |
故宮書畫圖錄,第二十一冊,頁321-326
|
|
研究性論著 |
題識:王冕畫梅自題:朔風撼破處士廬。凍雲隔月天糢糊。無名草木混色界。廣平心事今何如。梅花荒涼似無主。好春不到江南土。羅浮山下蘼蕪烟。瑪瑙坡前荊棘雨。相逢可惜年少多。競賞桃杏誇豪奢。老夫欲語不忍語。對梅獨坐長咨嗟。昨夜天寒孤月黑。蘆葉卷風吹不得。髑髏夢老皮蒙茸。黃莎萬里無顏色。老夫瀟灑歸巖阿。自鉏白雪栽梅花。興酣拍手長嘯歌。不問世上官如麻。
又題:君不見漢家功臣上麒麟。氣貌豈是尋常人。又不見唐家諸將諸將圖凌烟。長劍大羽聯貂蟬。龍章終非塵俗狀。虎頭迺是封侯相。我生山野無能為。學劍學書倥放蕩。老來晦迹巖穴居。夢寐未形安可模。昨日冷飆動髭須。拄杖下山聞鷓鴣。烏巾半岸衣露肘。忘機忽落丹青手。器識可同莘野夫。孤高差擬磻溪叟。山翁野老爭道真。松篁節摻梅精神。吟風笑月意自在。只欠鹿豕來相親。江北江南競傳寫。祝君歎其才盡下。我來對面不識我。何者是真何者假。祝君放筆一大笑。不須攬鏡亦自了。相攜且買數斗酒。坐對青山自傾倒。明朝酒醒呼鶴歸。白雲滿地芝草肥。玉簫吹來雨霏霏。琪華亂颭春風衣。祝君許我老更奇。我老自覺頭垂絲。時與不時何以為。時與不時何以為。贈君白雪梅花枝。
吳鎮畫竹題識:圖畫書之緒。豪素寄所適。垂垂歲月久。殘斷爭寶惜。始由筆硯成。漸次忘筆墨。心手兩相忘。融化同造物。軒窗雲靄溶。屏障石突兀。林麓繆槎牙。禽鳥翥翰翮。可憐俗澆漓。摸摹竟紛出。裝褫雜真贋。丹紛誇絢赫。千金易弊帚。十襲寶燕石。米也百世士。賞會神所識。伶倫世無有。奇響竟寥寂。良藥難再遇。抱懷長太息。左圖右書。取其怡悅瞻視。陶寫情性。近好事者。以為市道商賈。真贗為事。反害性情。盲目聾耳。哀哉。至正甲申。梅花道人戲墨而書。
王冕(西元1287-1359年),浙江諸暨人。字元章,號煮石山農、飯牛翁、閒散大夫。能詩善畫,特別擅長畫墨梅,所用的圈瓣法源自南宋揚无咎(1097-1169)。
吳鎮(1280-1354),浙江嘉興人。字仲圭,號梅花道人,嘗自署梅沙彌。工詩文及書畫,所畫山水、竹石俱佳,山水宗巨然(活動於十世紀後期),墨竹法文同(1018-1079)。
王冕墨梅、吳鎮墨竹,均是世上名作,在此合裱成一卷,二者都筆墨簡潔,風韻清雅,故曰「雙清」。王冕的數枝梅花,茂盛的花朵,以圈瓣的方式畫成,未加染任何色彩,用筆精勁,顯得清秀宜人。吳鎮只畫三叉竹一枝,卻具有正側、俯仰之態,富有生意。筆法出自北宋文同秀逸圓潤的面貌,但在行進間,則顯現出寫意風格自在灑脫的韻味。
|
|
參考書目 |
1.朱惠良,〈明沈度題元王冕吳鎮梅竹雙清〉,收入《雲間書派特展圖錄》(臺北:國立故宮博物院,1994年初版),頁137-138。
2.蔣復璁,〈元王冕吳鎮梅竹雙清〉,收入國立故宮博物院編,《元四大家》(臺北:國立故宮博物院,1975年初版,1976年二版,1984年三版),頁43-44。
3.劉芳如,〈元吳鎮王冕梅竹雙清〉,收入國立故宮博物院編輯委員會編,《畫梅名品特展》(臺北:國立故宮博物院,1991年元月初版),頁87-88。
4.朱惠良,〈雲間書派特展簡介 — 沈度題元王冕吳鎮梅竹雙清卷引首〉,《故宮文物月刊》,第139期(1994年10月),頁86。
5.〈元王冕吳鎮梅竹雙清 卷〉,收入譚怡令、劉芳如、林莉娜主編,《滿庭芳-歷代花卉名品特展》(臺北:國立故宮博物院,2010年十二月初版一刷),頁192-195。
6.陳德馨,〈贈君白雪梅華枝-王冕面對時局所給的答案〉,《故宮文物月刊》,第349期(2012年04月),頁102-111。
|
|
內容簡介(中文) |
王冕(西元一二八七-一三九年),浙江諸暨人。字元章,號煮石山農、飯牛翁、閒散大夫。好學家貧,幼牧羊兒,後從韓性學,遂為通儒。善畫能詩,畫中獨工墨梅一項。王冕梅花,吳鎮墨竹,皆名垂後世,雖寥寥數筆,而清韻有餘。卷上題識,王氏凡再題,吳氏題詩附識語,連篇累牘,皆甚難得,而王氏書蹟流傳於世絕少,尤足珍重。
|
|
內容簡介(英文) |
Wang Mien (style name Yuan-chang; sobriquets K'ual-chi wai-shih, Chu-shih shan-nung, Fan-niu-weng, and Hsien-san tai-fu) was a native of Chu-chi, Chekiang. His family was poor, so in his youth Wang worked as a shepherd. However, he was very fond of studying and later sought the scholar Han Hsin as his teacher. Wang went on to become a gifted Confucian scholar and an able writer of poetry and essays as well as an excellent painter. In his paintings, he confined himself to monochrome ink plum blossoms. Wang Mien and Wu Chen were both famous to later generations for their paintings of plum blossoms and bamboo, respectively. With only a few brushstrokes, these paintings overflow with purity and harmony. Among the inscriptions on this handscroll is one by Wang Mien, to which Wu Chen wrote in response. These paintings act like correspondence between the two artists, a phenomenon seldom seen in painting. Wang Mien's surviving specimens of calligraphy are also very rare, making this work particularly precious.
|
|
內容簡介(中文) |
王冕(西元1287-1359年),浙江諸暨人。字元章,號煮石山農、飯牛翁、閒散大夫。能詩善畫,特別擅長畫墨梅,所用的圈瓣法源自南宋揚无咎(1097-1169)。 吳鎮(1280-1354),浙江嘉興人。字仲圭,號梅花道人,嘗自署梅沙彌。工詩文及書畫,所畫山水、竹石俱佳,山水宗巨然(活動於十世紀後期),墨竹法文同(1018-1079)。王冕墨梅、吳鎮墨竹,均是世上名作,在此合裱成一卷,二者都筆墨簡潔,風韻清雅,故曰「雙清」。王冕的數枝梅花,茂盛的花朵,以圈瓣的方式畫成,未加染任何色彩,用筆精勁,顯得清秀宜人。吳鎮只畫三叉竹一枝,卻具有正側、俯仰之態,富有生意。筆法出自北宋文同秀逸圓潤的面貌,但在行進間,則顯現出寫意風格自在灑脫的韻味。(譚怡令)
|
|
網頁展示說明 |
王冕(1287-1359),家貧好學,能詩善畫。吳鎮(1280-1354),浙江嘉興人。字仲圭,號梅花道人。亦工詩文書畫。
王冕墨梅、吳鎮墨竹,皆名垂後世,於此合裱為一。王冕梅花以南宋畫梅名家揚无咎(1097-1169)的圈瓣方式畫成,不染他色;吳鎮則仿北宋大師文同(1018-1079)以墨筆寫竹。墨竹白梅皆筆墨簡潔,風韻清雅,故曰「雙清」。兩位畫家並於卷上加以題識,可供觀者比對書法與繪畫用筆,領略文人畫的詩書畫三絕合一。(20110102)
|
|
網頁展示說明 |
Wang Mian came from a poor family but was gifted at poetry and painting. Wu Zhen (style name Zhonggui, sobriquet Meihua daoren) was a native of Wuxing in Zhejiang. He was good at poetry, prose, calligraphy, and painting.
Here, Wang Mian painted plum blossoms in ink and Wu Zhen did bamboo in ink. Both artists were famous among later generations, so their two works were mounted together in this scroll. Wang Mian's plum blossoms were done using the painting technique of "circled petals" employed by the famous Southern Song artist Yang Wujiu (1097-1169), in which no other washes of color were applied. For the bamboo, Wu Zhen imitated the method of sketching in ink employed by the Northern Song master Wen Tong (1018-1079). The ink bamboo and white plum blossoms were both done in succinct brushwork, the style harmonious, pure, and elegant, hence the title "Twin Purities." Both artists also added inscriptions to their works here, allowing for comparison of brushstrokes in both painting and calligraphy. This gives an idea of the literati ideal of the "Three Perfections" in Chinese art: poetry, calligraphy, and painting.(20110102)
|
|
網頁展示說明 |
王冕(1287-1359)、家は貧しかったが向学心に富み、詩文に優れ絵畫も善くした。吳鎮(1280-1354)、浙江嘉興の人、字は仲圭、號は梅花道人、詩文、書畫のいずれも善くした。
後世に名を殘した「王冕の墨梅」、「吳鎮の墨竹」─本作はそれが一つにまとめられている。王冕は、南宋時代の墨梅の名手揚无咎(1097-1169)の花弁を丸く描く畫法を用い、他の色は一切使わない。吳鎮は北宋の大家文同(1018-1079)に倣い、墨で竹を描いた。一般に墨竹と白梅は簡潔に描かれ、品のよい清らかさが漂うことから「雙清」と稱される。作品右側に両畫家の題款があり、書法と絵畫の用筆の違いも比較でき、詩、書、畫三絕一体の文人畫が堪能できる。 (20110102)
|
|
參考書目 |
邱士華,〈元王冕吳鎮梅竹雙清 卷〉,收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》(臺北:國立故宮博物院,2022.10),頁82-85。
|