參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈初編(重華宮),頁802
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收藏著錄 |
故宮書畫錄(卷五),第三冊,頁202-203
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收藏著錄 |
故宮書畫圖錄,第四冊,頁161-162
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參考書目 |
1.李玉珉,〈元吳鎮雙松圖〉,收入王耀庭、許郭璜、陳階晉編,《故宮書畫菁華特輯》(臺北:國立故宮博物院,1987年初版,2001年再版),頁186-187。
2.蔣復璁,〈吳鎮雙松圖〉,收入國立故宮博物院編,《元四大家》(臺北:國立故宮博物院,1975年初版,1976年二版,1984年三版),頁40-41。
3.劉芳如,〈吳鎮雙松圖〉,收入石守謙、葛婉章主編,《大汗的世紀:蒙元時代的多元文化與藝術》(臺北:國立故宮博物院,2001年初版),頁304-305。
4.李玉珉,〈書畫菁華特展 — 吳鎮雙松圖〉,《故宮文物月刊》,第163期(1996年10月),頁54-55。
5.劉芳如,〈行走於蒙元的藝廊裡 — 「大汗的世紀」特展 元吳鎮雙松圖〉,《故宮文物月刊》,第226期(2002年1月),頁47-48。
6.林美吟,《元朝吳鎮雙松圖之研究》,中國文化學院藝術研究所碩士論文,1986年。
7.鄭淑方,〈元吳鎮雙松圖〉,收入蔡玫芬主編,《精彩一百 國寶總動員》(臺北:國立故宮博物院,2011年九月初版一刷),頁300。
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內容簡介(中文) |
吳鎮與黃公望、倪瓚、王蒙並稱元四大家,聲名在十五世紀後躍起,甚至有許多傳聞逸事被創造出來。其實他在元時只是浙江嘉興的地區性文人隱士,少與官員或名流來往,這可能是其安於恬淡、矜持不群的個性使然。他的畫作多是墨竹或圖寫漁隱理想的山水,本幅則是少見的早年大作,以雙株巨松(應為槐)為主,配上廣潤的平遠空間,頗見宋畫淵源。畫為道士張善淵作,也顯示他與道教的密切關係。
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內容簡介(英文) |
Wu Chen, a native of Chekiang province, was gifted at poetry and prose. He also excelled at painting landscapes and bamboo in monochrome ink as well as cursive script calligraphy. He was one of the Four Great Masters of the Yuan. This work was done at 48 for a Taoist master named Lei Suo-tsun. Although the title indicates pines, the trees depicted are actually cypresses. In the foreground, the two trees shoot up to the sky with hills and streams behind. The trunks are done in long hemp-fiber texture strokes and the hills with monochrome ink. Light and dark are mediated to blur the outlines, and the brushwork is close to that of Tung Yuan. The entwined treetops have branches that appear like dragon claws with dramatic tension.
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網頁展示說明 |
吳鎮(1280-1354),浙江嘉興人。工詩文,善草書,畫作多寫墨竹或漁隱的理想山水,與黃公望、倪瓚、王蒙合稱「元四大家」。
平遠的空間中,兩株樹頂枝幹盤屈的古檜(舊籤誤為松)擎天而立。畫中樹的枝幹形貌仍保存了李郭遺風,溪岸、陂陀以淡墨層層渲染,遠近層次分明,又具董、巨筆意。全作筆力雄勁,墨氣淋漓。本幅作於泰定五年(1328)春,是吳氏傳世畫蹟中,署有年款最早的一件作品。
(20110913)
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網頁展示說明 |
Wu Zhen, a native of Jiaxing in Zhejiang, was good at poetry and prose while excelling at cursive script. In painting, he mostly did bamboo in monochrome ink and idealized landscapes of fishing in reclusion. Wu Zhen along with Huang Gongwang, Ni Zan, and Wang Meng were known as the Four Yuan Masters.
Against a flat and open space appear two old and gnarled trees with their tops as well as trunks and branches intermingled as they reach to the skies. Although the title refers to them as pines, they are actually cypress trees. The forms of the trunks and branches of these two trees still retain vestiges of the Li (Cheng) and Guo (Xi) style. The riverbank and slopes were done in layers of light ink washes, and the distinction between near and far areas is clear, also bearing the brush manner associated with Dong (Yuan) and Ju(ran). The brush force throughout is formidable and the quality of ink moist and free. Done in the spring of 1328, this is the earliest dated work among Wu Zhen’s surviving paintings.
(20110913)
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參考書目 |
劉芳如,〈元吳鎮雙松圖 軸〉,收入《國寶的形成-書畫菁華特展》(臺北:國立故宮博物院,2017.10),頁194-199、319。
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參考書目 |
國立故宮博物院編輯委員會,〈元吳鎮雙松圖 軸〉,收入《故宮書畫菁華特輯》(臺北:國立故宮博物院,1996.10),頁186-187。
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