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符合的藏品

明唐寅函關雪霽 軸

明唐寅函關雪霽 軸

deep in a high mountain pass, where travelers proceed with ox-driven carts.....more

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明邵彌畫蓮華大士像 軸

明邵彌畫蓮華大士像 軸

sobriquet was Kua-ch’ou. He was skilled as a poet, calligrapher and painter, and he excelled.....more

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明藍瑛秋老梧桐 軸

明藍瑛秋老梧桐 軸

name T’ien-shu and sobriquets Hsi-hu wai-shih, Chieh-shou, and Shih-t’ou-t’uo. He excelled.....more

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明宋旭雲巒秋瀑圖 軸

明宋旭雲巒秋瀑圖 軸

The painter has used his brush, well loaded with ink, predominently in the technique called “small ox.....more

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宋人畫問喘圖 卷

宋人畫問喘圖 卷

a water-buffalo which was painting heavily. He immediately became concerned and asked the ox-herd.....more

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明藍瑛溪山雪霽 軸

明藍瑛溪山雪霽 軸

-t’ou-t’o) was a native of Hangchou, Chekiang. He excelled at painting landscapes, figures, flower.....more

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元王蒙松山書屋 軸

元王蒙松山書屋 軸

are multiple ridges of piled mountains using the method of fine, dry "ox–hair" texture strokes.....more

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明沈周參天特秀 軸

明沈周參天特秀 軸

and experience. The period of this painting, around 1480, marks the beginning of Shen Ch’ou’s prime.....more

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明陸治飛閣?江圖 軸

明陸治飛閣?江圖 軸

&*陸治原本從學於文徵明(一四七O-一五五九),再從文氏探索王蒙(一三O八-一三八五)、倪瓚(一三O一-一三七四)各家筆法,進一步從宋元繪畫大傳統中提煉出自己的風格。本幅畫作即兼有宋人構圖的意念和元人.....more

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明陸治端陽佳景 軸

明陸治端陽佳景 軸

不俗,筆墨構圖和陳淳(一四八三-一五四四)近似,卻沒有陳淳放恣的氣息。其中自然優雅的韻味,正是沈周(一四二七-一五O九)、文徵明(一四七O-一五五九)以來吳派畫家共同追求的格調.....more

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宋歐陽修集古錄跋 卷

宋歐陽修集古錄跋 卷

潤無窮。後人觀之,如見其清眸豐頰,進趨曄如也。」可謂形容盡妙。而歐公自云:「余因李邕書得筆法,然為字絕不相類云云。」今觀其書,於顏為近。&*Ou-yang Hsiu (whose style-name.....more

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明李士達寒林鍾馗 軸

明李士達寒林鍾馗 軸

is seen wearing a wicker hat as strands of attached cloth blow in the wind. He rides an ox.....more

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元俞和臨張養浩書忠祐廟碑 冊

元俞和臨張養浩書忠祐廟碑 冊

Tz'ai K'o-hung. In Yü Ho's copy of the stele, we see the influence of Ou-yang Hsün's style on Yüan.....more

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明陸治丹楓秋色 卷

明陸治丹楓秋色 卷

安排,和倪瓚(一三O一-一三七四)的格局隱隱相合;設色淡雅沉靜,也彷彿文徵明(一四七O-一五五九)的氣息;而皴擦點染,一任自然,又賦有元人的格調。陸治天資、學力兼具,因此能夠解析也能加以綜合,而後皆能.....more

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明陸治練川草堂圖 卷

明陸治練川草堂圖 卷

(1994),頁205-297。 &*此為陸治四十二歲為朱繼甫所作,朱氏號練川,和當時文士交往密切,因此前有文徵明(一四七O-一五五九)題字,後有彭年(一五O五-一五六六)、顧雲龍諸人作文題贈,可以從而.....more

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