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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編（御書房），第四冊，頁1995
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁354
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收藏著錄 |
故宮書畫圖錄，第七冊，頁257-258
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參考書目 |
1.王耀庭，〈明仇英秋江待渡〉，收入王耀庭編，《青綠山水畫特展圖錄》（臺北：國立故宮博物院，1995年七月初版一刷），頁91。
2.許郭璜，〈明仇英秋江待渡圖〉，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91。
3.江兆申，〈仇英秋江待渡 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313。
4.〈明仇英秋江待渡〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁263。
5.李霖燦，〈山水畫中點景人物的斷代研究〉，《故宮季刊》，第十三卷第二期（1978年冬），頁25-40。
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內容簡介（中文） |
仇英（約西元一四九四－一五五二年）字實父，號十洲，江蘇太倉人。曾作漆工，後遇周臣，經其指授，漸有名於藝壇。工畫山水、人物，並擅花鳥、禽獸，為明四大家之一。 此幅用筆極工，蓋實父著意之作也。畫未署款，惟石角水陬，分鈐三印。竹樹雙鈎，如唐人小楷，筆筆盡法。山石帶皴帶砍，要與斧劈為近，重而不滯，輕而不浮。點景人物，尤盡傳神之妙。有項元汴，安岐藏印。
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內容簡介（英文） |
Waiting for a Ferry in Autumn Ch’iu Ying (ca. 1490-1552), Ming Dynasty Ch’iu Ying, one of the “Four Masters of the Ming Dynasty,” was a native of T’ai-ts’ang, Kiangsu. His style-name was Shih-fu; his sobriquet, Shih-chou. Originally a lacquer artist, he later met Chou Ch’en (fl. 1450-1535), under whose tutelage he gradually gained fame as a painter. Ch’iu Ying is noted for his paintings of landscapes, figures, flowers, birds, and animals. This work was executed with much attention by Ch’iu Ying; all the landscape elements in this painting are carefully delineated, and the outlines of the leaves in the trees and bamboo have the precision of the small standard script of the T’ang dynasty (618-907). The texture strokes of the rocks and mountains are similar to axe-cut texture strokes--thick but not lumpy, fine but not fragile--while the figures are rendered with great vitality. Ch’iu Ying did not sign the work, but there are three of his seals stamped on the painting, one in the bottom left corner and two on the right. The landscape was formerly in the collection of Hsiang Yuan-pien and An Ch’i.
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內容簡介（中文） |
仇英（約西元一四九四－一五五二年），字實父，號十洲，江蘇太倉人。曾作漆工，後師周臣，工山水人物、界畫與花鳥，具院派畫技，精麗秀美中閃現著文人畫的妍雅溫潤，為明四大家之一。
此雙拼大畫，描繪秋日山水中行旅待渡的光景，竹樹雙鉤，山石類斧劈皴，筆筆盡是法度，點景人物，尤盡傳神之妙。用筆工麗秀勁，乃實父悉力之作，作者印記分鈐於江渚石角間。(20110405)
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內容簡介（英文） |
Qiu Ying (style name Shifu, sobriquet Shizhou) was a native of Taicang, Jiangsu. Originally a lacquer artisan, he later learned from Zhou Chen and excelled at landscape, figure, bird-and-flower, and ruled-line subjects. Gifted at academic methods, his refined beauty also reveals the warm charm of literati art. He was one of the Four Ming Masters.
This large painting on joined silk depicts travelers waiting for a ferry in an autumn landscape. With bamboo and trees in outlines, the landscape features “axe-cut” texture strokes. The brushwork is orderly and the figures dotting the scenery marvelously vivid. The brushwork is beautifully fine and elegantly strong, making this a masterpiece by Qiu, whose seals appear on the area of water and rocks.(20110405)
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參考書目 |
劉芳如，〈明仇英秋江待渡 軸〉，收入《國寶的形成-書畫菁華特展》（臺北：國立故宮博物院，2017.10），頁270-277、325。
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參考書目 |
許文美、劉芳如，〈明仇英秋江待渡 軸〉，收入《明四大家特展-仇英》（臺北：國立故宮博物院，2014.10），頁62-69、273、320-321。
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