基本資料 藏品類型 繪畫
文物統一編號 故畫000908N000000000 抽盤點紀錄 修護紀錄
作品號 故畫00090800000
品名 明文徵明絕壑高閒 軸
分類 繪畫
作者 文徵明
創作時間 明武宗正德十四年(1519)
數量 一軸

典藏尺寸 【位置】 【尺寸】(公分)
本幅 148.9x177.9

質地 【質地位置】 【質地】
本幅

題跋資料 【題跋類別】 【作者】 【位置】 【款識】 【書體】 【全文】
作者款識 文徵明 本幅 己卯(西元一五一九年)四月望徵明寫絕壑高閒。 行書
印記: 文徵明印、悟言室印

印記資料 【印記類別】 【印記】
鑑藏寶璽 乾隆御覽之寶
鑑藏寶璽 無逸齋精鑑璽
鑑藏寶璽 宣統鑑賞
鑑藏寶璽 宣統御覽之寶
鑑藏寶璽 寶笈三編
鑑藏寶璽 乾隆鑑賞
鑑藏寶璽 嘉慶御覽之寶
鑑藏寶璽 嘉慶鑑賞
鑑藏寶璽 石渠寶笈
鑑藏寶璽 三希堂精鑑璽
鑑藏寶璽 宜子孫

主題 【主題類別】 【主題(第一層)】 【主題(第二層)】 【主題說明】
主要主題 山水
其他主題 器用 枴杖
次要主題 器用 文玩(琴棋書畫)
次要主題 建築
次要主題 樹木
次要主題 山水 瀑布
主要主題 山水 溪澗、湍泉
其他主題 人物 侍從(侍女、童僕) 童僕1人
其他主題 人物 高士(士人、隱士) 高士2人
其他主題 樹木

技法 【技法】 【技法細目】
寫意
皴法 斧劈皴
人物衣紋描法(粗細線條)

參考資料 【類別】 【參考資料】
收藏著錄 石渠寶笈三編(乾清宮),第二冊,頁567
收藏著錄 故宮書畫錄(卷五),第三冊,頁380
收藏著錄 故宮書畫圖錄,第七冊,頁57-58
參考書目 1.江兆申,〈文徵明絕壑高閒 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306。 2.許郭璜,〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(四) — 繪畫〉,《故宮文物月刊》,第247期(2003年10月),頁37。
內容簡介(中文) 文徵明(1470-1559)江蘇長洲人。初名壁,字徵明,後以字行,更字徵仲,號停雲生、衡山居士。五十四歲到北京任翰林待詔,參與撰寫《武宗實錄》,後來厭倦京師生活,回到故里,專致藝事,在詩文書畫方面很高的成就,為明代蘇州畫壇的領袖。林陰深處,石壁垂立,清冷的瀑泉,從石罅中直沖而下,淙淙然彷彿可聽見流水音聲。主客二人,一趺坐平台上,一持杖正欲渡橋而來;右方畫雙松雙柏,交錯矗立,與畫中兩翁相呼應,象徵堅貞的情誼。而環視四周,盡皆是林木石壁,清幽的境界別具一番天地,真有與世隔絕之勝概。本幅作於正德十四年(1519),時年文氏五十歲。構圖滿紙密布,用筆雄曠爽朗,是文徵明傳世作品中難得的「粗文」佳作。(許郭璜)
內容簡介(中文) 文徵明(西元一四七0-一五五九年),江蘇長洲(今蘇州)人。初名壁,後以字行。亦字徵仲,號停雲生,衡山居士。官至翰林待詔。詩文書畫並佳,畫師沈周(一四二七-一五0九),後自成一家,為「明四家」之一。 此巨幅作品成於正德十四年(一五一九),當時作者五十歲。就筆墨來說,用筆粗朗挺勁,頗近似沈周。可見師承所自。深林密蔭,懸壁週環,瀑布清冷,淙淙然彷彿可聞流水聲。主來客坐,別無其它通徑,真有與世隔絕之概。此圖與其八十歲所作「古木寒泉」有相通之處,但不及其簡鍊。
內容簡介(英文) Wen Cheng-ming, a native of Soochow, served at one point in the Hanlin Academy. However, he is better known as one of the preeminent masters of painting, calligraphy, and writing. In painting, he studied under Shen Chou (1427-1509) and developed his own style to become known as one of the Four Great Masters of the Ming. This work was painted in 1519 when Wen Cheng-ming was 49. In terms of the style, the rough brushwork here is similar to that of his teacher Shen Chou. The verdant forest and dense foliage establish a setting that is surrounded by precipitous cliffs that tower out of the scroll. Listening to the sound of the water falling, a scholar sits beside a pure, cold stream waiting for his guest to cross the bridge in the lower left. There are no other paths in or out of the scene in this painting, making it truly a realm set apart from the ordinary world. This work bears similarities to Wen Cheng-ming's “Cold Waterfall and Old Trees”, done at the age of 79, but it does not appear as abbreviated.
內容簡介(中文)   文徵明(西元一四七○--五五九年),江蘇長洲人。初名壁,字徵明,後以字行。亦字徵仲,號停雲生、衡山居士。詩文書畫並佳,畫師沈周,為明四大家之一。本幅成於正德十四年(一五一九),當時文氏五十歲。就筆墨而論,用筆粗朗近似沈周,可見師承之所自。深林密蔭,懸壁週環,瀑布清冷,淙淙然彷彿可聽見流水聲。主坐客來,別無通徑,真有與世隔絕之概。
內容簡介(英文) Scholars at Leisure in a Precipitous Ravine Wen Cheng-ming (1470-1559) Ming Dynasty Wen Cheng-ming, a native of Soochow, excelled in calligraphy and was noted for his paintings, becoming regarded as one of the Four Great Masters of the Ming dynasty. This work was painted in 1519 when Wen was 49. In terms of brush and ink, the rough style here is similar to that of his teacher Shen Chou. The verdant forest and dense foliage set the scene with precipitous cliffs towering out of the scroll. Listening to the sound of the water falling, a scholar sits beside the pure, cold stream waiting for his guest to cross the bridge in the lower left. There are no other paths in or out of the scene in this painting, making it truly a realm set apart from the ordinary world.
內容簡介(中文)   巨幅。用筆粗朗,挺勁之甚。與八十歲作古木寒泉有相通處,惟不如古木寒泉之簡鍊耳。己卯,文徵明五十歲。
內容簡介(中文)   文徵明(西元一四七○-一五五九年),江蘇長洲人。初名壁,字徵明,後以字行。亦字徵仲,號停雲生,衡山居士。詩文書畫並佳。畫師沈周,為明四家之一。  本幅成於正德十四年己卯,時先生年正五十歲。就筆墨而論,仍步趨於沈周,可見師承之所自。青林密蔭,懸壁週環,一水清冷,淙淙然如聞其響。主坐客來,別無通徑,真有與世隔絕之慨。
內容簡介(英文) Lofty Scholars in a Lonely Ravine Wen Cheng-ming (1470-1559) Ming Dynasty Wen Cheng-ming was a native of Ch’ang-chou, Kiangsu. Wen Cheng-ming’s original name was Pi and his style name Cheng-ming. Later he was known by his style name. Yet another style name was Cheng-chung. His sobriquets were T’ing-yun-sheng and Heng-shan Chu-shih. Excelling in calligraphy and noted for his paintings, Wen Cheng-ming is regarded as one of the Four Great Masters of the Ming dynasty. Lofty Scholars in a Lonely Ravine was painted in 1519 when Wen Cheng-ming was forty-nine years old. Wen Cheng-ming’s use of brush and ink follows that of his teacher Shen Chou. The verdant forest and dense foliage set the scene. As if listening to the gurgling sound, the host sits beside the pure, cold stream waiting for the guest to arrive. There are no other paths. The scene truly is set apart from the world.
參考書目 吳誦芬、童文娥、譚怡令,〈明文徵明絕壑高閒 軸〉,收入《明四大家特展-文徵明》(臺北:國立故宮博物院,2014.03),頁24-27、314-315。