明文嘉畫瀛洲仙侶 軸
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- 資料識別：
- 故畫000530N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 文嘉
- 主題與關鍵字：
- 名勝 雲 藤蘿 房舍 文玩（琴棋書畫） 橋 臺閣 江河、湖海 侍從（侍女、童僕） 高士（士人、隱士）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 70.6x25.7公分、詩塘 22.6x25.7公分、全幅 51.3公分
- 關聯：
- 石渠寶笈三編﹝延春閣﹞，第四冊，頁1932&*故宮書畫錄﹝卷五﹞，第三冊，頁395&*故宮書畫圖錄，第八冊，頁61-62&*山嶺像巨大的石柱般從河岸陡然昇起，與近景的坡石樹林俯仰呼應，中間有小橋相通，渡橋的兩人正在交談，隨行的童僕抱著書和琴囊匆匆趕來。山上的樓閣屋宇像鳥巢般，隱密在叢林深處，或是被雲霧團團圍著，像是人跡難以到達的神祕之地。詩塘題詩末句「石梁南畔是瀛洲」，也點出畫的主題是要描寫道教傳說中，名為「瀛洲」的海外仙山。 文嘉是文徵明（1470－1559）的次子，受父親影響，也擅長詩、書法、繪畫及鑑賞。雖然年輕時曾接受仕子教育，但一生沒有顯著功名，只在浙江、江西、安徽的地方官學中擔任教職。不過他在十六世紀後期蘇州的文藝圈十分活躍，是吳派後期繪畫的代表畫家。 這幅畫師法元代倪瓚（1301－1374）的作風，用乾渴而不明晰的線條，描繪山石的輪廓，皴法十分簡略，設色是以赭色通染山體，然後以對比的青綠色渲染凸出的山頭，雖然取法於唐人的青綠山水，但改變為淡雅透明的淡青綠法。同時的友人陸治（1496－1576）畫仙山時，也常用這種方式，可見一時風氣。（何傳馨）&*文嘉（西元一五○一－一五八三），江蘇長洲人，文徵明次子。字休承，號文水。能詩工書畫。山水尤精，筆墨疎秀，氣韻尤其好。文嘉畫出於家學，用筆比較顯得瀟脫些。位置經營不比父親差。 畫的是烟巒縹渺中，隱隱有一寺宇。雲霧參差?又有一村聚。石梁間二人慢慢的走著。是幅很精的作品，有筆簡意厚的趣味。 &*On the Isles of Immortals Wen Chia (1501-1583) Ming Dynasty Wen Chia, the second son of the noted artist Wen Cheng-ming, was a native of Ch’ang-chou, Kiangsu. His style name was Hsiu-ch’eng; his sobriquet was Wen-shui. Noted for his poetry, calligraphy and painting, Wen Chia particularly excelled in landscape. In his use of the brush and ink he preferred the harmonious to the beautiful. Wen Chia’s painting style developed from the family style. His use of the brush reveals a lack of concern for precise detail; rather his works possess an unrestrained harmony. Wen Chia’s work is equal to that of his father. The painting depicts a steep hillside bathed in mists. A temple is hidden deep in a valley, and a village emerges from layers of clouds. Two figures below slowly cross a bridge. This painting is very fine, and although the brushwork simple, the meaning is profound. &*文嘉，明長洲人。（西元一五○一年至一五八三）徵明仲子，字休承，號文水。能詩工書畫，精山水，筆墨疎秀，而以韻勝。 文嘉畫出於家學，惟用筆不守小謹，有脫略之韻，而意象經營，固不減於乃翁。此幅是其精細之作，山石皴紋，稍稍見意而已，然而蓬頭粗服，自有韻態。 &*On the Isles of Immortals Wen Chia (1501-1583) Ming Dynasty Wen Chia, the second son of the noted artist Wen Cheng-ming, was a native of Ch’ang-chou, Kiangsu. His style name was Hsiu-ch’eng; his sobriquet was Wen-shui. Noted for his poetry, calligraphy and painting, Wen Chia particularly excelled in landscape. In his use of the brush and ink he preferred the harmonious to the beautiful. Wen Chia’s painting style developed from the family style. His use of the brush reveals a lack of concern for precise detail; rather his works possess an unrestrained harmony. Wen Chia’s work is equal to that of his father. The painting depicts a steep hillside bathed in mists. A temple is hidden deep in a valley, and a village emerges from layers of clouds. Two figures below slowly cross a bridge. This painting is very fine, and although the brushwork simple, the meaning profound.
- 管理權：
- 國立故宮博物院
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- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
