| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1926
|
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁391-392
|
|
收藏著錄 |
故宮書畫圖錄，第七冊，頁83-84
|
|
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，為明四大畫家之一。畫從沈周出，而別有成就，影響明朝晚期畫風甚鉅。
文徵明性嚴謹，不常作仕女畫，本院所藏僅此一幅。構圖和筆墨均極簡明，草草數筆，聊以示意，是文人畫家的作風。款署：嘉靖己亥（一五三九年）春日，偶閱趙松雪芭焦仕女，戲臨一過。此年文徵明七十歲。
|
|
內容簡介（英文） |
Wen Cheng-ming (style-name Cheng-chung; sobriquets T’ing-yun-sheng and Heng-shan-chu-shih) was a native of Chang-chou, Kiangsu. Originally his given name was Pi and his style-name Cheng-ming, but later in life he came to be known by Cheng-ming. A noted poet, calligrapher and painter, Wen is considered one of the Four Great Masters of the Ming Dynasty. While he followed the style of Shen Chou (1427-1509), he was, nonetheless, able to achieve an individual expression which had a profound influence on the work of later Ming artists.
By nature solemn and chaste, wen painted female subjects only infrequently; indeed, this is the sole example of a painting on this theme by Wen in the Palace Museum Collection. The painting is imbued with a sense of harmony and grace; Wen’s ideal has been achieved by means of a few simple but carefully executed strokes. The style of the Ming dynasty literati is well-exemplified here. In his own inscription on the painting, Wen informs us that it was done on a spring day in 1539, after he had seen a painting on the same theme by Chao Meng-fu (1254-1322).
|
|
內容簡介（中文） |
己亥（一五三九）春日作。自題偶閱趙孟頫蕉陰士女，戲臨一過。徵明仕女畫絕少，此為僅見。其實草草數筆，聊以見意而已。
|
|
內容簡介（中文） |
文徵明（西元一四七○－一五五九）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。詩文書畫并佳。畫師沈周，為明四家之一。
文翁性嚴謹，美女畫不數數覯。本院僅此一幅。蓋猶司馬君實賦西江月。說寶髻鬆鬆挽就。偶一為之者也。款署嘉靖己亥春日。偶閱趙松雪芭蕉仕女。戲臨一過。是翁七十歲畫。
|
|
參考書目 |
1.江兆申，〈文徵明蕉陰仕女 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294。
|
|
參考書目 |
何炎泉，〈明文徵明蕉陰仕女圖 軸〉，收入劉芳如主編《她-女性形象與才藝》（臺北：國立故宮博物院，2020.10），頁84-85、257-258。
|
|
參考書目 |
吳誦芬、童文娥、譚怡令，〈明文徵明蕉陰仕女圖 軸〉，收入《明四大家特展－文徵明》（臺北：國立故宮博物院，2014.03），頁258-259、344。
|
推薦
