| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈三編（御書房），第七冊，頁3105
|
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁359-360
|
|
收藏著錄 |
故宮書畫圖錄，第七冊，頁271-272
|
|
參考書目 |
1.許郭璜，〈明仇英桐陰清話〉，收入許郭璜編，《仇英作品展圖錄》（臺北：國立故宮博物院，1989年初版），頁95。
2.劉芳如，〈明仇英桐陰清話〉，收入國立故宮博物院編輯委員會編，《明中葉人物畫四家特展－杜菫、周臣、唐寅、仇英》（臺北：國立故宮博物院，2000年初版），頁171。
|
|
內容簡介（中文） |
仇英（約一四九四－一五五二），居蘇州。曾為漆工，後以畫藝聞名。從周臣學畫，擅長山水、仕女、人物。又長於臨摹古人作品，幾可亂真。為明四大家之一。 幅中畫溪流之間，梧桐樹下，兩人執手相談，表達文人生活雅趣。畫山石筆勢瀟灑縱逸，墨調對比較強。畫人物也是筆法快速，挺拔勁健，但不失溫雅。本幅與院藏「蕉陰結夏」可能原為同套四屏之一，是應項元汴所請而作，為裝飾廳堂之用。
|
|
內容簡介（英文） |
Pure Conversation Under Firmiana Trees Ch’iu Ying (ca. 1494-1552) Ming Dynasty Ch’iu Ying, a resident of Soochow, originally was a lacquer artisan but later became a famous painter excelling at landscapes, ladies, and figures. He was also skilled at copying ancient works, becoming one of the Four Great Masters of the Ming. By a mountain stream and under firmiana trees, 2 gentlemen stand and converse with hands clasped in this depiction of a custom among refined scholars. The brushwork for the towering rocks is powerful yet fluid while the contrast in ink tones appears quite sharp. The brushwork of the figures is quick and striking yet still refined. Along with the Museum’s Whiling Away Summer in the Shade of Plantains, this may have been one of a set of 4 commissioned by Hsiang Yuan-pien for a large hall.
|
|
內容簡介（中文） |
本幅畫石峰嶙嶙，梧桐垂蔭。樹下兩人拱立清談，一童悄然侍立。前景另繪叢篠沿坡，野水奔流。此等景境，縱或出自畫家揣想，然而人語溪聲，竟恍若身歷其境。巖岩畫法，明顯受到周臣「寧戚飯牛圖」的直接影響。不過仇英此作較周臣略為謹慎，雖然線條挺拔勁健，強調筆墨的速度美感，但皴法則儘量包藏在輪廓之內，並且讓巖石表面布滿肌理與明暗變化，不失卻形象的精準掌握。
|
|
內容簡介（英文） |
Pure Conversation in the Shade of Firmiana Ch’iu Ying (ca. 1494-1552) Ming Dynasty This work shows a tall rocky precipice to the right with firmiana trees shading two scholars standing underneath. Engaged in conversation, a child attendant stands to the side. In front is a rock with a stream rushing by and clumps of reeds and grass. This scene was conjured up by the artist to allow the viewer to feel as if actually there listening to them and the stream. The rendering of the rocks clearly reflects the influence of Chou Ch’en’s Ning Ch’i Feeding an Ox. Here, however, Ch’iu’s style is somewhat finer. Though the lines are forceful, emphasizing the beauty of quick brushwork, texture strokes still outline and fill the surface with force. Light and dark washes preserve the accuracy of the forms.
|
|
參考書目 |
許文美、劉芳如，〈明仇英桐陰清話 軸〉，收入《明四大家特展-仇英》（臺北：國立故宮博物院，2014.10），頁196-199、275、333。
|
推薦
