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【參考資料】 |
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收藏著錄 |
石渠寶笈初編（御書房），下冊，頁1166
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁394
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收藏著錄 |
故宮書畫圖錄，第七冊，頁75-76
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參考書目 |
1.江兆申，〈文徵明朱竹 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310。
2.〈明文徵明朱竹 軸〉，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152-153。
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內容簡介（中文） |
文徵明（西元一四七０－一五五九年），江蘇長洲（今江蘇蘇州）人。繪畫師法沈周（西元一四二七－一五０九年），兩人同為「吳派」的支柱，對明代中後期的影響顯著。 畫竹常以墨色來表現，作者在此卻以朱色畫之，就連款識也用朱書，滿紙映紅，別有一番視覺感受。而兩竿朱竹，瘦硬挺拔，用筆含蓄內蘊，卻可見書法中永字八法的筆法。
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內容簡介（英文） |
Wen Cheng-ming, a native of ch'ang-chou in Kiangsu (modern Soochow), followed the style of Shen Chou (1427-1509). Both of these artists are considered pillars of the Wu School of painting, having a major influence on later Ming art circles. Paintings of bamboo are often done in black ink, but here the artist used red ink. Even the artist's inscription was calligraphed in red, creating for a painting filled with vermilion that has an unusually striking visual effect. The two stalks of red bamboo are quite delicate and slender as they are shown reaching upwards. The brushwork appears also somewhat reserved and elegant, and it reveals the use of diagonal downward strokes that are often found in calligraphy.
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內容簡介（中文） |
乙卯（一五五五）秋，寫朱竹，題高啟詞，按嘉靖甲午（一五三四）二月五日曾寫朱竹，並題高啟詞，與此幀正同。惟至晚年，書畫用筆，皆轉趨轉厚耳。 是年，董其昌生。
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內容簡介（中文） |
文徵明（1470-1559），長洲（今江蘇蘇州）人。初名壁，後以字行，又更字徵仲，號衡山居士。詩、文、書、畫俱佳，畫師沈周（1427-1509），師徒二人同為蘇州畫壇的支柱，對明代中後期畫壇的影響至鉅。
本幅寫兩竿朱竹併立而生，姿態極見瘦硬挺拔，運筆則含蓄內斂，隱隱然涵融有永字八法的書法筆趣。寫意畫竹通常都以墨色來表現，此作卻易之以朱砂色，就連上方題高啟（1336-1374）詞亦用朱書，滿紙映紅，別具一番新穎的視覺美感。畫成於嘉靖甲午（1534），時文徵明六十五歲。(20110102)
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內容簡介（英文） |
Wen Zhengming, a native of Changzhou (modern Suzhou, Jiangsu), originally had the name Bi and the style name Zhengming, which he later went by. He also had the sobriquets Zhengzhong and Hengshan jushi. Wen excelled at poetry, calligraphy, and painting, taking Shen Zhou (1427-1509) as his teacher. Both of these artists became pillars of painting circles in Suzhou and had a great influence on painting of the middle and late Ming dynasty.
This slender hanging scroll depicts two stalks of bamboo rendered with nothing but red ink. They appear extremely thin and upright, the brushwork used to depict them being introverted and faintly revealing the calligraphic method of eight strokes in the character yong 永. Bamboo paintings in the “sketching ideas” manner are usually done in black ink, but this one is in red instead. Even Wen Zhengming’s transcription of poetry by Gao Qi (1336-1374) at the top of the scroll is in red ink, filling the work with vermilion and imbuing it with a fresh and innovative aesthetic. This painting was completed in 1534, when Wen Zhengming was 65 years old by Chinese reckoning.(20110102)
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參考書目 |
吳誦芬、童文娥、譚怡令，〈明文徵明朱竹 軸〉，收入《明四大家特展－文徵明》（臺北：國立故宮博物院，2014.03），頁268-269、345。
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參考書目 |
譚怡令、劉芳如、林莉娜，〈明文徵明朱竹 軸〉，收入《滿庭芳-歷代花卉名品特展》（臺北：國立故宮博物院，2010.12），頁152-153。
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