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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1790
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁327
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收藏著錄 |
故宮書畫圖錄，第六冊，頁233-234
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參考書目 |
1.江兆申，〈沈周芝蘭玉樹 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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內容簡介（中文） |
沈周（西元一四二七至一五○九年），江蘇長洲人。字啟南，號石田，又號白石翁。為人寬厚有大度，能詩文，工書法，又善畫，作品造型稚拙，用筆鈍勁，用墨厚重，予人一種質重有力，古趣盎然之感。 坡上靈芝蘭草，後倚大石，石後玉蘭一株。通幅用筆極秀，與晚年筆趣大異，文徵明所學者多此種。幅上之吳寬題，與明憲宗戊戌（一四七八）年吳題林逋二札字體甚近；同年沈周所作贈吳之行畫卷，用筆秀雅又與此相類，故本幅或亦此年所作，沈周時年五十二歲。
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內容簡介（英文） |
Shen Chou was a native of Suchow, Kiangsu. He was a generous man, learned, and a skilled poet, calligrapher and painter. His paintings often give the appearance of being slightly awkward, with blunt brushwork which belies their subtle skill. They present strong, weighty imagery that calls forth a feeling of great antiquity. Immortal fungus grows with orchids on a slope with a large rock behind. A magnolia is seen in the rear. The brushwork is extremely refined and quite unlike Shen Chou’s late work. Shen Chou’s friend Wu K’uan inscribed the painting in a style of calligraphy that closely matches the writing seen in an inscription Wu wrote on Lin Pu’s calligraphy in 1478, and this painting may have been done at that time, when Shen Chou was fifty-one.
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內容簡介（中文） |
坡上靈芝蘭草，後倚大石。玉蘭花一株，在石後出枝，每枝三五花，用筆極秀，與晚年筆趣大異，文徵明所學者多此種。疑成化戊戌（一四七八）所作。成化乙未（一四七五）吳寬父卒，奔喪返蘇州。戊戌（一四七八）正月廿六日，吳寬召周，留宿「醫俗亭」，道舊竟日。二月吳寬來觀林逋手書二札，因為題識。二月十八日，又過有竹居題沈周積雨小景幅。此幅吳寬題與吳題林逋二札，字體甚為接近；而同年沈周又作贈吳寬行畫卷，畫筆秀雅又與此幅相類；故定為此年。沈周五十二歲，吳寬四十三歲，祝允明題詩時或稍晚，是年允明才十八歲。
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內容簡介（英文） |
1478 Shen Chou Ling-chih, Orchids, and Magnolia Ling-chih and orchids are growing on a slope; behind them is a large rock. A magnolia tree shows its branches from behind the rock; each branch bears three to five flowers. The handling of the brush is extremely delicate, vastly different from the blunt roughness of Shen Chou’s later paintings. This is the aspect of his style which was studied by Wen Chen-ming. It was probably painted in 1478. In 1475 Wu K’uan’s father had died, and Wu had rushed back to Suchou from Peking for the funeral. On the 26th of the first month of 1478, he summoned Shen Chou to his I-su Pavilion, where they spent the night talking. In the second month, Wu K’uan went to Shen Chou’s home to see the “Two Letters” of Lin P’u and wrote an inscription on it. On the 18th he again paid a visit to the Bamboo Cottage and inscribed a small painting by Shen Chou. Wu’s inscriptions on “Ling-chih, Orchids, and Magnolia” and on the Lin P’u album are very similar in style. In the same year, Shen Chou painted a handscroll as a gift for Wu K’uan, who was about to leave for the capital, his three years of mourning for his father now past. The elegance and delicacy of the brushwork in the handscroll are close to the “Ling-chih”, making it likely that the two were executed in the same year, when Shen Chou was 51 and Wu K’uan 42. Chu Yun-ming also inscribed a poem on the painting, but probably at a later time, as he was only 17 years old in 1478.
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內容簡介（中文） |
沈周（西元一四二七－一五○九年），江蘇長洲人。字啟南，號石田，又號白石翁。為人寬厚有大度，能詩文，工書法，又善畫，為明四家之首。
坡上靈芝蘭草，後倚大石，石後玉蘭一株。通幅用筆極秀，與晚年筆趣大異。此幅有吳寬題，字體與吳寬題〈宋林逋二札〉甚為接近；而同年沈周又作〈贈吳寬行畫卷〉，畫筆秀雅又與此幅相類，故定成化戊戌（一四七八）所作，時沈周五十二歲。
(20120103)
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內容簡介（英文） |
Shen Zhou (style name Qi’nan, sobriquets Shitian and Baishiweng), a native of Changzhou (Suzhou) in Jiangsu, was a generous learned man and a skilled poet, calligrapher and painter, being known as the head of the Four Ming Masters.
Immortal fungi grow with orchids on a slope with a large rock behind. Magnolia blossoms are seen to the rear. The brushwork throughout is extremely refined and quite unlike Shen’s late work. Shen’s friend Wu Kuan inscribed the painting in a style of calligraphy that closely matches the writing seen in an inscription Wu wrote on Lin Bu’s calligraphy in 1478, and this painting may have thus been done at that time, when Shen was 52 by Chinese reckoning.
(20120103)
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參考書目 |
何炎泉、陳階晉、陳韻如，〈明沈周畫芝蘭玉樹 軸〉，收入《明四大家特展-沈周》（臺北：國立故宮博物院，2014.01），頁130-131、319。
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參考書目 |
〈明沈周畫芝蘭玉樹 軸〉，收入何炎泉主編《毫端萬象-祝允明書法特展》（臺北：國立故宮博物院，2013.01），頁326-327、379。
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