| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈初編（養心殿），上冊，頁653-654
|
|
收藏著錄 |
故宮書畫錄（卷八），第四冊，頁79
|
|
收藏著錄 |
故宮書畫圖錄，第七冊，頁289-290
|
|
內容簡介（中文） |
仇英（約西元一四九四－一五五二年），江蘇太倉人。字實父，號十洲。初執事丹青（一說為漆工），周臣異而教之，後遂成名。畫工山水、人物，兼善鳥獸、花卉，所作有院畫之精能而饒士氣，為明四大家之一。
此幀畫法極似文徵明，實父畫少見此類作風，當屬仿文之作。幅中繪遠山垂瀑，樓宇參差。前景柴門半掩，曲徑通幽。敞軒內，一高士倚榻閑憩；另一童子捧書於庭，主僕二人似皆陶然於山光水色之際矣。全畫筆意精謹，賦色雅麗，雖徵明亦有未逮。
|
|
內容簡介（英文） |
One of the “Four Great Masters” of the Ming, Ch’iu Ying excelled at painting landscapes, figures, birds and animals, and flowers and plants. His works exhibit both the formality of the academy artist and the style of the literati painter.
In a landscape infused with mists and mountain light, a servant boy carries books toward a small cottage half-hidden in the trees; there his master lies napping on a low couch on the open porch. Winding paths thread the woods beyond, where storied pagodas pierce the forest’s skyline; in the distance plunges a cascading stream, its slender form silhouetted against the far range of mountains. Stylistic considerations indicate that this painting is most likely a copy by Ch’iu Ying of a work by Wen Cheng-ming (1470-1559); a copy whose meticulous brushwork and refined sense of coloring surpass those of the original.
|
|
內容簡介（中文） |
仇英（約西元一四九四－一五五二年），字實父，號十洲，江蘇太倉人。明代中期，蘇州一地人文薈萃；仇英初執事丹青，周臣異而教之，亦受文徵明器重，為之延譽，後遂成名。與沈周、文徵明、唐寅並稱明四大家。
此幅似文徵明畫風，用筆細謹，設色雅麗。畫幅細長，前景柴門半掩，曲徑通幽；中景高士倚榻閑憩；遠景雲山垂瀑，樓宇參差。逐步引人入勝，呈現文士徜徉於園林、陶然於山光水色之際。
|
|
內容簡介（英文） |
Literati flourished in Soochow during the life of Ch’iu Ying, native to T’ai-ts’ang, Kiangsu. Ch’iu began as a skilled artisan who came to be taught by Chou Ch’en. Ch’iu also was praised by the literatus Wen Cheng-ming, eventually bringing him fame as he became one of the Four Ming Masters.
This work is similar to Wen Cheng-ming’s style, with fine brushwork and elegant colors. The narrow format reveals a semi-concealed gateway in the foreground and a path winding through the tranquility. In the middle is a lofty scholar leaning on a daybed at leisure, while behind are mountains and a waterfall with a few buildings scattered. Leading the viewer’s eye into the scene, it reveals how a scholar wanders in a garden, admiring the beautiful land.
|
|
參考書目 |
1.許郭璜，〈明仇英林亭佳趣〉，收入許郭璜編，《仇英作品展圖錄》（臺北：國立故宮博物院，1989年初版），頁92。
2.〈明仇英林亭佳趣〉，收入國立故宮博物院編輯委員會編，《園林名畫特展圖錄》（臺北：國立故宮博物院，1987年十月初版），頁74。
3.江兆申，〈仇英林亭佳趣 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305 - 306。
|
|
參考書目 |
林莉娜，〈明仇英林亭佳趣 軸〉，收入林莉娜主編《百卉清供-瓶花與盆景畫特展》（臺北：國立故宮博物院，2018.10），頁128-131。
|
|
參考書目 |
許文美、劉芳如，〈明仇英林亭佳趣 軸〉，收入《明四大家特展-仇英》（臺北：國立故宮博物院，2014.10），頁24-29、272、317。
|
推薦
