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【參考資料】 |
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收藏著錄 |
故宮受贈文物選萃，頁73、166-167
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內容簡介（英文） |
王守仁(1472-1528)字伯安，浙江餘姚人。他是明代的大學者，創立知行合一的「陽明學說」對後世影響甚深。由於王守仁事功偉大，大家反而少知到他書畫皆有成就。本幅一河兩岸，遠岸巨岩在望，中空處有幾道小水瀑，近岸則是三樹兩屋，空寂而無一人。這種寧靜的天地，從構圖和呈現的意境，很明顯的受到元代畫家倪瓚的影響。畫上款題，也直接的呼應出作者的希望。七行行草書題款，寫得自由在自在，書法的風格則是以王羲之的「聖教序」為主，瘦勁而具骨氣。本幅為張學良將軍捐贈。
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內容簡介（英文） |
Wang Shou-jen (also known as Wang Yang-ming), a native of Chekiang, was the founding philosopher of the School of the Mind. Influential for his great achievements in the Ming dynasty as a thinker, few people realize that he was also accomplished in painting and calligraphy in his own right. This painting, dated to1506, shows two banks separated by a stretch of water. In the foreground are three sparse trees and two empty huts. A waterfall appears falling from the opposing cliff. This sparse and tranquil scene clearly was influenced by the landscape style of the Yuan painter Ni Tsan both in composition and technique. The inscription at the top echoes the free and elegant manner associated with Wang. Based on the “Sacred Teachings” work of calligraphy by Wang Hsi-chih, it has a sense of slenderness and spirit. This work was donated to the National Palace Museum by General Chang Hsueh-liang.
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內容簡介（中文） |
王守仁（1472－1528）字伯安，浙江餘姚人。明代大學者，創立知行合一的「陽明學說」，對後世影響甚深。由於其事功偉大，書畫成就卻少有人知。
本幅繪一河兩岸，遠岸巨岩在望，中空處有幾道小水瀑，近岸則是三樹兩屋，空寂而無一人。這種寧靜的天地，從構圖和呈現的意境，很明顯的受到元代畫家倪瓚的影響。畫上款題，也直接的呼應出作者的希望。七行行草書題款，寫得自由在自在，書法的風格則是集王羲之字的〈聖教序〉為主，瘦勁而具骨氣。
張學良先生捐贈於民國88年。(20110204)
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內容簡介（英文） |
Wang Shouren (style name Bo’an) was a native of Yuyao in Zhejiang. A great scholar of the Ming dynasty, he was founder of the philosophical “School of the Mind” (integrating thought and action) and had a profound influence on later generations. Due to Wang’s achievements as a thinker, few people realize that he was also an accomplished painter and calligrapher.
This painting shows a stretch of water between two banks. Large rocks appear by the distant shore along with the cataracts of a waterfall. On the foreground shore is an area of three trees and two buildings devoid of any human activity. Both in terms of composition and atmosphere, this sparse and tranquil scene clearly reflects the influence of the landscape style associated with the Yuan painter Ni Zan. The inscription at the top of the work also directly reflects the artist’s aspirations. The semi-cursive script inscription in seven lines is written with freedom and ease, the calligraphic style based mostly on the “Sacred Teachings” compilation of Wang Xizhi characters, revealing both slenderness and spirit.
Mr. Chang Hsueh-liang donated this painting to the National Palace Museum in 1999.(20110204)
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