| 參考資料 |
【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1904-1905
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收藏著錄 |
故宮書畫錄（卷四），第二冊，頁193-194
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收藏著錄 |
故宮書畫圖錄，第十九冊，頁91-96
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參考書目 |
1.王耀庭，〈明文徵明倣趙伯驌後赤壁圖 卷〉，收入國立故宮博物院編輯委員會主編《文學名著與美術特展》（臺北：國立故宮博物院，2001.10），頁46-49、135-136。
2.〈明文徵明仿趙伯驌後赤壁賦圖〉，收入國立故宮博物院編輯委員會編，《赤壁賦書畫特展》（臺北：國立故宮博物院，1984年初版），頁37-39。
3.江兆申，〈文徵明仿趙伯驌後赤壁圖 卷〉，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314。
4.衣若芬，〈戰火與清遊：赤壁圖題詠論析〉，《故宮學術季刊》，第十八卷第四期（2001年夏），頁63-102。
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內容簡介（中文） |
本卷畫於西元一五四八年，因為蘇州有人收藏趙伯驌（後赤壁圖），官吏索取獻給嚴嵩之子世蕃，而主人不願給，文徵明勸主人不要因此惹禍，就為他畫了這一卷。畫題說是仿自趙伯駒，然而畫中色調的處理，青綠的鋪陳，濃而不膩，已然是元代以後文人青綠山水的畫法。山石的結構與堆疊，也非拘泥於裝飾性的幾何狀，尤其是樹幹樹枝，如松柏的糾曲，點葉繁密濃重，由筆法看來，全是文徵明自己的本色。
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內容簡介（英文） |
This handscroll was done in 1548. At around that time, a collector in Soochow had Chao Po-su's “Latter Ode on the Red Cliff” in his possession. When an official wanted to present it to the son of the Grand Secretary Yen Sung (1480-1565), the owner refused. Wen Cheng-ming thereupon urged the owner not to anger such a prominent person, and so painted this copy for him as a substitute. The inscription says it is a copy after Chao Po-su (1124-1182), but the light blue-and-green coloring reveals the literati landscape tradition after the Yuan artist Chao Meng-fu (1254-1322). The landscape elements also do not appear as geometric shapes and patterns. In particular, the branches of the pines and cedars are done with dense brushwork that is completely in Wen Cheng-ming's own style.
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內容簡介（中文） |
文徵明（西元一四七○至一五五九年），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。畫師沈周，書畫雙絕，為明四大家之一。因其享年甚高，故傳世畫蹟頗多。 此圖作於嘉靖戊申（一五四八），時徵明七十九歲。據文嘉跋：吳中士人家藏有趙伯驌後赤壁圖，吏員欲取之以獻時宰嚴嵩之子世蕃，而主人吝與。徵明語之曰：「豈可以此物賈禍，吾當為之重寫，或能存其髣髴。」因為是卷。
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內容簡介（英文） |
Wen Cheng-ming was a native of Ch’ang-chou, Kiangsu. Originally Wen Cheng-ming’s given name was Pi and his style name was 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 was one of the Four Masters of the Ming dynasty. Because he lived to a ripe old age, he left behind many paintings which came down to present time. This painting was executed in 1548 when Wen Cheng-ming was seventy-eight years old. His son, Wen Chia, wrote a colophon, accounting for the making of this picture. A man of gentry had in his possession Chao Po-su’s Poetic Sentiment of the Latter Ode on Red Cliff. A local official wanted to get this painting in order to present it to Yen Shih-fan, son of the prime minister Yen Sung. The owner grudged parting with it. Thereby Wen Cheng-ming said to him, “Why should you incur disaster because of this possession? I will make a copy of it so that some vestige of it might remain with you.”
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內容簡介（中文） |
戊申（一五四八）七月既望，仿宋趙伯驌後赤壁賦卷。據仲子文嘉跋：先是吳中士人家藏有趙伯驌後赤壁圖，吏員欲取之以獻時宰嚴嵩之子世蕃，而主人吝與。徵明語之曰：「豈可以此物賈禍，吾當為之重寫，或能存其髣髴」。因為是卷。細審文嘉跋甚好，語當可靠。又有赤壁賦圖卷，章法與此略同，而筆墨視此較為精警。戊申、徵明七十九歲。
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內容簡介（英文） |
Wen Cheng-ming was a native of Ch’ang-chou (modern Soochow, Kiangsu). Although his given name was Pi, he is best known by his style name Cheng-ming. His other style name was Cheng-chung and his sobriquets include: T’ing-yun-sheng and Hung-shan chu-shih. Wen is considered one of the most influential painters of the Wu School, which developed in Soochow during the Ming Dynasty. When he was fifty-four years old, he was sent to the capital by the local government to serve as a member of the Hanlin Academy. There, he participated in the compilation of the Veritable Records of Wu-chung. Later, he became bored with life in the capital and returned to his old home, where he devoted himself to artistic endeavors. This painting depicts a mountain dwelling in the middle of a bamboo grove. A boat is anchored to a river bank dotted with flowering reeds. On the boat, a woman strums a lute. In the background, the artist has painted autumn trees. This scroll illustrates Pai Chu-yi’s famous poem, “The Lute Song.” This lonely scene is convincingly rendered with the mature brushwork of Wen Cheng-ming’s later years.
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內容簡介（中文） |
文徵明（1470-1559）初名壁，字徵明，後以字行，為十六世紀吳派最具影響力的畫家。本卷以蘇軾〈後赤壁賦〉為其文本，分為八段，描繪蘇軾與二友人攜酒與魚復遊赤壁。全幅淺青綠設色，雖說仿自趙伯駒，然顏料下透露出線條與用筆，顯得透明而有層次感，較接近元趙孟頫之文人青綠傳統。畫中人物線條簡樸，山石則堆疊緊湊而富變化，展現文人面對奇景之安閑雅興。畫上紀年嘉靖戊申（1548），文氏時年七十九歲，為其晚年力作。卷後有文徵明之子文嘉（1501-1583）敘述此畫之來由：「〈後赤壁賦圖〉乃宋時畫院中題，故趙伯驌（約活動1123-1182）、趙伯駒（1118或1120-1162）皆常寫，而予皆及見之。若吳中所藏則伯驌本也。後有當道欲取以獻時宰(嚴嵩)之子，而主人吝與，先待詔語之曰：『豈可以之賈禍，吾當為重寫，或能存其髣彿』，因為此卷。庶幾煥若神明，復還舊觀，豈特優孟之為孫叔敖而已哉，壬申（1572）九月仲子嘉敬題」。
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網頁展示說明 |
文徵明（1470–1559），江蘇長洲（今蘇州）人。畫師承沈周，上溯元人，為明四家之一。
此圖作於嘉靖戊申（1548）年，以蘇軾〈後赤壁賦〉為文本，全幅淺青綠設色，接近元趙孟頫文人青綠傳統，然山石的結構與堆疊，樹枝點葉的筆法，已是文徵明本色。文嘉於卷後跋語謂吳中文士家藏趙伯驌原作，當道者欲取之獻於權相嚴嵩子，徵明勸友人勿吝予而賈禍，因仿作此卷以慰之。
(20120714)
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網頁展示說明 |
Wen Zhengming, a native of Changzhou (modern Suzhou), learned painting from Shen Zhou, tracing his style back to the Yuan dynasty and becoming one of the Four Ming Masters.
This work from 1548 is based on Su Shi's "Latter Ode on the Red Cliff." It is done in light blue-and-green, similar to the literati blue-and-green mode of the Yuan artist Zhao Mengfu, while the structure and piling of mountains and tree branches and leaves reveal Wen's own style. Wen Jia's colophon at the end says the original by Zhao Bosu belonged to a Suzhou scholar. An official wanted it for Grand Secretary Yan Song's son, but the owner was unwilling to part with it. As a result, Wen Zhengming encouraged his friend not to anger such a high official and did this imitation for him.
(20120714)
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網頁展示說明 |
文徵明（1470－1559）、江蘇長洲（現在の江蘇省蘇州市）の人。絵畫は沈周に師事し、元代に遡って学んだ。明四大家の一人。
嘉靖戊申（1548）の作。蘇軾の「後赤壁賦」を主題に描かれている。全体に淡い青綠で著色されており、青綠を使う元代趙孟頫の文人畫の伝統に近いが、山石の結構や重なり具合、木の枝葉の筆法は文徵明そのものである。卷後にある文嘉の跋文にはこの作品にまつわる話が記されている。吳中（蘇州）の文士が趙伯驌の原作を所有していた。役人がそれを取り上げて当時權勢を誇っていた厳嵩の息子世蕃に獻上しようとしたが、持ち主は渡したくない。そこで文徵明が「絵を惜しんで禍を招くべきではない」と、友人である持ち主を諭し、この倣作を描いて慰めたのだという。
(20120714)
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參考書目 |
吳誦芬、童文娥、譚怡令，〈明文徵明倣趙伯驌後赤壁圖 卷〉，收入《明四大家特展－文徵明》（臺北：國立故宮博物院，2014.03），頁132-139、326-327。
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