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【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁44
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收藏著錄 |
故宮書畫圖錄，第十九冊，頁129-136
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內容簡介（中文） |
文徵明（西元一四七０－一五五九年），江蘇長洲人，字徵仲，號衡山居士。詩文、書畫方面的造詣很高，是當時蘇州畫壇的領袖。因得享高壽，故傳世的作品甚多。
這幅畫依照蘇東坡後赤壁賦的內容，逐段描繪，串連成連續的畫面，所以主題人物會在各場景中重複的出現。而無論構圖和技法都和他的另一幅作品「仿趙伯驌後赤壁圖」十分相像，但筆墨卻不夠精到，可能是後人的仿作了。
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內容簡介（英文） |
Wen Cheng-ming, a native of Soochow in Kiangsu, was exceptionally talented in poetry and prose as well as painting and calligraphy, and he was a leader in Soochow painting circles. Living and painting to an old age, many of his works survive.
This painting is based on Su Tung-p’o’s “Latter Ode on the Red Cliff”. Rendered in consecutive scenes within a single painting, they combine to form a continuous narrative. Thus, the main figure appears repeatedly in the scenes. In terms of both composition and technique, this work is very similar to another one by Wen Cheng-ming entitled Copy After Chao Po-su’s “Ode on the Latter Cliff”. However, the brushwork here is not as refined, so perhaps this was done as a copy by a later artist.
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內容簡介（中文） |
釋文：
後赤壁賦
是歲十月之望。步自雪堂。將歸于臨皐。二客從余。過黃泥之坂。霜露既降。木葉盡脫。人影在地。仰見明月。顧而樂之。行歌相答。已而歎曰。有客無酒。有酒無肴。月白風清。如此良夜何。客曰。今者薄暮。舉網得魚。巨口細鱗。狀如
松江之鱸。顧安所得酒乎。歸而謀諸婦曰。我有斗酒。藏之久矣。以待子不時之
需。於是攜酒與魚。復游於赤壁之下。江流有聲。斷岸千尺。山高月小。水落石出。曾日月之幾何。而江山不可復識矣。余乃攝衣而上。履巉巖。披蒙茸。踞虎
豹。登虯龍。攀棲鶻之危巢。拊馮夷之幽宮。蓋二客不能從焉。劃然長嘯。草木振動。山鳴谷應。風起水涌。余亦愀然而悲。肅然而恐。凜乎其不可留也。返而
登舟。放乎中流。聽其所止而休焉。時夜將半。四顧寂寥。適有孤鶴。橫江東來。翅如車輪。玄裳縞衣。戛然長鳴。掠予舟而西也。須臾客去。余亦就睡。夢一道士。羽衣翩躚。過臨皐之下。揖余而言曰。赤壁之游樂乎。問其姓名。俛而不答。嗚呼。噫嘻。我知之矣。疇昔之夜。飛鳴而過我者。非子也耶。道士顧笑。余亦
驚寤。開戶視之。不見其處。丙戌冬仲續寫此于平觀堂。枝山子。
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內容簡介（中文） |
文徵明（西元一四七○－一五五九年），江蘇長州人。字徵仲，號衡山居士。他在詩文和書畫方面都有很高的造詣，是明代蘇州畫壇的領袖。五十四歲以歲貢到北京，任翰林院待詔，參與撰寫武宗實錄，後來厭倦京師生活，回到故里，專意藝事，年九十卒。此幅畫蘇東坡後赤壁賦文意，設色仿唐人青綠法，但更加勻淨細潤，與精妙的筆法相得益彰。卷後祝允明草書後赤壁賦，紀年丙戌（一五二六），原本是單獨成幅，後與文徵明畫裱為一卷。
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內容簡介（英文） |
Wen Cheng-ming, style name Cheng-chung, sobriquet Heng-shan ju-shih, was a native of Ch’ang-chou, Kiangsu province. Highly accomplished in poetry, belles-lettres, calligraphy, and painting, he was a leader in the Soochow art world. When he was fifty-four he was appointed an official in the Hanlin Academy in Peking and helped compile the Veritable Records of the emperor Wu-tsung (r. 1505-1521). Later, tired of official life in Peking, he returned home and engaged in artistic activities until his death at age 90.
The scroll depicts the Latter Ode to the Red Cliff written by the northern Sung poet, Su Tung-p’o. Wen Cheng-ming has imitated the blue-green style of T’ang dynasty (618-906) artists, but his coloring is more uniform, detailed, and moist, a change from the T’ang style which greatly enhances and complements his exquisite brushwork. The poem, Latter Ode to the Red Cliff, in the grass calligraphy of the famous calligrapher Chu Yun-ming, follows the painting. It was dated 1526. The painting and calligraphy were originally executed separately, but later they were mounted as one scroll.
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內容簡介（中文） |
此卷並無名款，只有在卷尾有「徵仲」印一方，卷後有祝允明（1460-1526）草書〈後赤壁賦〉，款題「丙戌（1526）冬仲續寫此於平觀堂」，由其語氣判定，此書法未必原屬此畫。全卷畫風極近文徵明，然筆法與敷色都較為平弱而缺乏變化，細節也更繁瑣而裝飾化，應非文徵明所作。雖說如此，作者應與其時代及活動圈子關係密切。本卷分段大致與文徵明〈倣趙伯驌後赤壁圖〉相同，惟增加兩景：一為卷首加上一棟屋宇，此應為賦中「步自雪堂，將歸於臨皋」中的雪堂，二為在最後一段蘇軾「開戶視之」之前繪有蘇軾夢中與道士交談一景。
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參考書目 |
1.〈明文徵明赤壁圖〉，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40-41。
2.江兆申，〈文徵明赤壁賦圖 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。
3.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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參考書目 |
〈明文徵明赤壁圖 卷〉，收入何炎泉主編《毫端萬象-祝允明書法特展》（臺北：國立故宮博物院，2013.01），頁262-268、377。
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