明陳洪綬喬松仙壽圖 軸
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- 資料識別：
- 故畫000943N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 陳洪綬（Chen Hongshou）
- 主題與關鍵字：
- 高士（士人、隱士） 江河、湖海 溪澗、湍泉 百姓 菊 芙蓉 蓮荷 花器 靈芝 松 侍從（侍女、童僕）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明思宗崇禎八年（1635）
- 格式：
- 本幅 202.1x97.8公分、全幅 120公分
- 關聯：
- 石渠寶笈三編（延春閣），第五冊，頁2110 &*故宮書畫錄（卷五），第三冊，頁478-479&*故宮書畫圖錄，第九冊，頁79-80&*1.李玉珉，〈陳洪綬喬松仙壽圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁259。 2.〈明陳洪綬喬松仙壽圖〉，收入國立故宮博物院編，《晚明變形主義畫家作品展》（臺北：國立故宮博物院，1977年九月初版），頁436。 3.李玉珉，〈明陳洪綬喬松仙壽圖〉，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326。 &* 陳洪綬（西元一五五九至一六五二年），浙江諸暨人。字章侯，早年自號蓮沙彌，後號老蓮。明亡後，又號悔遲、勿遲。人物、花鳥、草蟲、山水無不精妙，皆能自出機杼，表現出高古奇駭，意趣盎然之特色。為晚明極具影響力之大畫家。 洲渚之間，蒼松、紅樹、夾葉三株，凌雲傑起。一人紫袍朱履拱手立於樹下，一童簪花携壺提榼從之。本幅構圖奇絕，別出新意，線條用筆圓勁中鋒。松、石造型規律，頗富圖案裝飾趣味。 &*Chang-hou, Ch’en Hung-shou was a native of Chu-chi, Chekiang. In his early years he called himself Lotus Novitiate and later, Old Lotus; after the fall of the Ming in 1644 he chose the sobriquets Hui-ch’ih and Wu-chih. He was accomplished in the genres of figures, landscapes, flowers and birds, and grasses and insects. Ch’en’s idiosyncratic approach reveals the use of an exaggerated aesthetic whereby he transmogrifies his subjects into uniquely stylized forms. On anislet in the midst of a river grow three tall trees, including a pine, a tree with round, red leaves, and one with narrow, blue leaves. A man wearing a violet robe and red shoes stands under the trees, his hands clasped under his cloak. To the right, a young man with flowers in his cap attends his master, carrying a hu vessel over his right shoulder and a basket of flowers with his left hand. The composition of this painting is most ingenious. The liues are forcefully drawn throughout and were produced with a centered brush. The shaping of the pinetree and the rocks is very rhythmically stylized and presents highly decorative patterning. &*陳洪綬（1598－1652），浙江諸暨人。字章侯，自號老蓮、悔遲。工繪畫，為晚明變形主義的大家。 本幅用筆沉穩，線條遒勁有力，設色明艷，構圖奇絕。人物身軀偉岸，五官誇張，形貌怪異；松石造型規律，富圖案裝飾趣味。幅上款題有「蓮子與翰姪，燕游于（點去）終日」之語，顯然畫中松樹下的人物應該就是自署「蓮子」的陳洪綬。雖然陳氏傳世的畫蹟甚多，但唯有此軸是他的自畫像，自然彌足珍貴。 (20110913)&* Chen Hongshou (style name Zhanghou; self-styled sobriquets Lianshami and Laolian), a native of Zhuji in Zhejiang, took the sobriquets Huichi (“Regretfully late”) and Wuchi (“No regrets”). He excelled at many painting subjects, including figures, birds-and-flowers, grasses-and-insects, and landscapes, being a master in the Transformational School of the late Ming. The brushwork in this painting is solid and steady, the lines powerful and with force, the colors bright and beautiful, and the composition unusual and unique. The body of the figure is large and stalwart with exaggerated facial features and a strange and eccentric appearance. The pine and rock forms are regulated, reflecting a strong interest in patterned decorativeness. This figure wearing a violet robe and red shoes in the painting is the person who signed himself “Lianzi” in the inscription: Chen Hongshou himself. Though there are many surviving works by Chen Hongshou, this is his only known self-portrait, making it naturally all the more precious. (20110913)
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 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
