參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編(養心殿),第二冊,頁1060-1061
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收藏著錄 |
故宮書畫錄(卷四),第二冊,頁211-212
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收藏著錄 |
故宮書畫圖錄,第十九冊,頁237-242
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研究性論著 |
謝時臣(1488-1567尚在),江蘇吳縣(今蘇州)人,字思忠,別號樗仙。徐沁《明畫錄》指稱:「能詩,工山水,頗能畫屏障大幅,有氣概而不無絲理之病,此亦外兼戴吳二派者。」(註1)藍瑛之《圖繪寶鑑續纂》云:「善山水,得沈石田之意而稍變焉。筆勢縱橫,設色淺淡,人物點綴,極其瀟灑。尤善於水,江潮湖海,種種皆妙。名重一時,亦不誣也。」(註2)一般論謝時臣之畫風,有將之歸為浙派畫家,主要是因其喜好畫大卷大軸,氣勢雄渾,墨色濃重,而題材的選取方面與浙派十分近以,如常以敘述性的經典文學、歷史故事作等題材來表現個人的思想及情感。亦有學者認為謝時臣是吳派名家,尤其是出生於仿古風氣鼎盛的吳地。事實上,謝時臣畫風多樣,除早年活動較不為人所知外,在中期曾私淑沈周(1427-1509)數年,受沈周影響甚深,又兼習浙派,以賣畫為生,晚年與文徵明(1470-1559)有書畫來往,上溯至吳鎮(1280-1354)、倪瓚(1301-1374)、王蒙(1308-1385)這一脈絡的文人風格,尤醉心於王蒙,此幅便是晚年倣王蒙得意之作。 此幅卷前題有「醉翁亭小景」五字,是以歐陽修所作之〈醉翁亭記〉為題,為謝時臣七十三歲時之作品。卷首畫群山環翠,小徑彎蜒其間,小徑上一士人緩步而行,林木後,溪澗潺潺,一小亭立於其上,亭中幾名文士開懷暢談,人物雖小,但神態逼真,顧盼有神。四周蒼松勁秀,山間瀰漫雲霧,與水銜接,虛實相映。全幅呈現〈醉翁亭記〉一文描述之優美景致及文中強調之閒適自怡的意境。此幅以綿密而稍短曲的筆法皴山,焦墨點苔,再以圓潤濃郁之筆墨畫深邃秀麗的林木,筆墨脫自王蒙細密繁複之風格,筆觸較為柔和,又因畫於長卷之上,構圖更為疏朗開闊。全作墨色變化豐富,水流湍急,猶可聽聞水聲潺潺,以淡墨染出變滅不定之雲煙,山寺隱現其間,似人間仙境。卷後則以大字行草書〈醉翁亭記〉一文,每行最多五、六字,點劃轉折方硬,結體瘦勁峭拔,體勢雄強,法度嚴謹純熟。謝時臣不以書名,然此幅行書中摻雜以草書,和諧自然,墨筆濃重,枯筆露白,一氣呵成,疏密相互呼應,畫與書並美,是其成熟之佳作。(童文娥) 註1:徐沁撰,《明畫錄》(台北,文史哲出版社,1974),卷3,頁42,出自《畫史叢書》(二)。 註2:藍瑛,謝彬纂輯,《圖繪寶鑑續纂》(台北,文史哲出版社,1974),卷1,頁1,出自《畫史叢書》(二)。
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參考書目 |
1.童文娥,〈明謝時臣醉翁亭記書畫合璧 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98-99、177-179。
2.童文娥,〈「文學名著與美術」特展選介(二) 明謝時臣醉翁亭書畫合卷〉,《故宮文物月刊》,第219期(2001年6月),頁62-71。
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內容簡介(中文) |
謝時臣(西元一四八八-一五六七年後),字思忠,號樗仙,江蘇吳縣人。善畫屏障大幅,山水得沈周(一四二七-一五0九)法,尤以江潮湖海為佳。 水墨畫歐陽修醉翁亭記,畫仿王蒙,筆法細膩綿密,墨色蒼潤。拖尾行草書大字全文,筆鋒勁挺,法度嚴謹純熟。本幅作於嘉靖己未(一五五九),時謝氏七十三歲,為晚年精心之作。
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內容簡介(英文) |
Hsieh Shih-chen, a native of Soochow in Kiangsu, often did large paintings. In landscape painting, he followed the style of Shen Chou. He also excelled at depicting waterscapes. This is a monochrome illustration of Ou-yang Hsiu’s The Record of the Tsui-weng [Drunken Old Man] Pavilion. Hsieh imitated the style of Wang Meng. His brushwork is dense yet delicate, while the ink is rich and moist. Accompanying the painting is his colophon transcribing Ou-yang’s full text in running calligraphy. Hsieh’s centered brushwork is strong and the technique rigid yet mature. Done in 1559, when Hsieh was 71-years-old, this work is a masterpiece from his later years.
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內容簡介(中文) |
謝時臣(西元一四八八-一五六七年尚在),吳人,畫風兼吳、浙兩派。〈醉翁亭記〉是宋歐陽修被貶滁洲時,記述滁州名勝醉翁亭景致,自抒情懷的文章。謝時臣便以文章中所描寫的風景作題材,畫蒼翠山林,小路曲折,溪澗上有一座小亭,亭中文士飲酒作樂,山間雲霧瀰漫,虛實相映。呈現〈醉翁亭記〉文中優美景況及閒適自怡的意境。卷後以行草書寫〈醉翁亭記〉,用筆方硬勁挺。
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內容簡介(英文) |
The style of Hsieh Shih-ch’en, a native of Wu, is a cross between those of the Wu and Che schools. “Record of the Pavilion of the Old Drunk” was written by Ou-yang Hsiu (1007-1072) while he was exiled to Ch’u-chou. It records this famous site and vents the emotions of the author. Here, Hsieh took the description and rendered a verdant forest with a twisting path and a small pavilion by a stream. Scholars drink and make merry in the pavilion as clouds and mist veil the mountains to create an almost illusory scene. The beautiful scenery and idle life in the record are complemented by the imagery in this painting. Afterwards is a transcription of the record in semi-cursive script done with strong, jagged brushwork.
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內容簡介(中文) |
謝時臣(西元一四八八-一五六七年後),吳人,畫風兼吳、浙兩派。〈醉翁亭記〉是宋歐陽修被貶滁洲時,記述滁州名勝醉翁亭景致,自抒情懷的文章。謝時臣以文章中所描寫的風景作題材,畫蒼翠山林,小路曲折,溪澗上有一座小亭,亭中文士飲酒作樂,山間雲霧瀰漫,虛實相映。呈現〈醉翁亭記〉文中優美景況及閒適自怡的意境。卷後以行草書寫〈醉翁亭記〉,用筆方硬勁挺。(20091016)
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內容簡介(英文) |
The style of Xie Shichen, a native of Wu, is a cross between those of the Wu and Zhe schools. “Record of the Pavilion of the Old Drunk” was written by Ouyang Xiu (1007-1072) while he was exiled in Chuzhou. It records this famous site and vents the emotions of the author. Here, Xie took the description and rendered a verdant forest with a twisting path and a small pavilion by a stream. Scholars drink and make merry in the pavilion as clouds and mist veil the mountains to create an almost illusory scene. The beautiful scenery and idle life in the record are complemented by the imagery in this painting. Afterwards is a transcription of the record in semi-cursive script done with strong, jagged brushwork.(20091016)
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