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宋趙昌四喜圖 軸

宋趙昌四喜圖 軸

of the bamboo and especially the plum blossoms and rocks is very similar to Pien Wen-chin's brush.....more

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清金廷標長至添線圖 軸

清金廷標長至添線圖 軸

立竿在地面,用線來測量日影,日影當然最長,比較其他日子來說自有添線的必要。另外,從冬至後,白日漸長,婦女從事女紅的時間也增加,因此便有添線之說,以為象徵。 &* Chin T’ing-piao.....more

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清金廷標松陰牧馬 軸

清金廷標松陰牧馬 軸

-ch’en, Chin T’ing-piao (style name Shih-k’uei) was a skilled painter of figure and floral subjects.....more

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宋李公麟苦吟圖 卷

宋李公麟苦吟圖 卷

’eng, He received the chin-shih degree during the Hsi-ning Era and served in the Secretariat.....more

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明戴進畫山水 軸

明戴進畫山水 軸

文進寫」六字,並鈐「靜庵」印記一方。 &*Tai Chin took the traditional ink style of Chekiang as his foundation, to which.....more

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明戴進撫松觀瀑 軸

明戴進撫松觀瀑 軸

to that of Tai Chin or a follower. Tai Chin’s style was based on the Southern Sung works of Ma Yü.....more

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明戴進牧牛圖 軸

明戴進牧牛圖 軸

風傾偃,益覺沁涼滿紙;牧童手持喜鶴反向而坐,與右行之水牛適成一均衡態勢,凡此俱見畫家營構之巧思。&* Tai Chin developed his landscape painting.....more

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明宋懋晉碧梧降暑 軸

明宋懋晉碧梧降暑 軸

梧陰森,一人坐山房小憩,狀甚悠閒,柳岸蘆葦茂盛,葉莖傾斜,似有習習涼風吹入圍牆人家。 &* Sung Mou-chin (style name Ming-chih) was a native.....more

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明郭詡東山攜妓圖 軸

明郭詡東山攜妓圖 軸

belonged to a convivial group of artists that included Wu Wei, Tu Chin and Shen Chou. In the Hung-chih.....more

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宋賢書翰 冊 宋蔡襄致彥猷尺牘

宋賢書翰 冊 宋蔡襄致彥猷尺牘

,宋四大家中,蔡襄學顏最神形俱似,但是氣骨稍嫌不足。 本幅為「宋賢書翰」冊一。&*Ts'ai Hsiang was a native of Fukien and a chin-shih degree.....more

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明鄭重倣王蒙葛洪移居圖 軸

明鄭重倣王蒙葛洪移居圖 軸

captured them with refined delicacy. Ko Hung was a reknowned Taoist of the Chin dynasty (265-420). He.....more

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明周臣甯戚飯牛圖 軸

明周臣甯戚飯牛圖 軸

and Ch'iu Ying, and even the early ones of Tu Chin, an exceptionally decisive brushwork appears. Thus.....more

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明花卉畫冊 冊 明金俊明梅花

明花卉畫冊 冊 明金俊明梅花

面畫於六十五歲時,老幹虬枝,素花如雪,全得梅花疏傲之致。 &* Chin Chün-ming (original name Chin Kun, tzu Chiu-chang; later.....more

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明湯煥遊西山詩 冊

明湯煥遊西山詩 冊

-ch'i, who noted that T'ang's style followed in the manner of the ancient Chin dynasty masters.....more

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明文徵明花卉 冊 南國聯芬

明文徵明花卉 冊 南國聯芬

”, which was done in 1533 when he accepted an invitation to Hsü Chin's home on West Mountain.....more

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