明唐寅高士圖 卷
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- 資料識別：
- 故畫001035N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 唐寅
- 主題與關鍵字：
- 花器 文房用具 傢俱（屏風） 奇石 欄杆 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 23.7x195.8公分、隔水一 12公分、隔水二 11.7公分
- 關聯：
- 本幅起首，繪童子拱手侍立，圓凳旁之地面，舖設有蓆，蓆上散置紙筆書硯等物。中段出現高士三人，相對暢談。背景畫樹石苔草，運筆條暢有力，濃淡交織，極為精彩。幅末設石桌，上置瓶爐，另一卷垂掛在地。據唐光跋，原畫應有四段，分別臨法李公麟、劉松年、馬和之、梁楷筆意。順治間因遭火焚，僅餘最後一段法梁楷者。筆致草草，與唐寅「採蓮圖」卷（一五二○）相近，故歸為五十歲以後所作。&*Shown first here is a child attendant with hands clasped in attendance. Next to a round stool is a straw mat with paper, brush, books, inkstone, and other objects. In the center, 3 lofty scholars converse against a backdrop of trees, rocks, and moss clumps. The marvelous brushwork is forceful, combining light and dark ink. At the end of the scroll is a stone table with a jar and an unrolled scroll of paper. According to the colophon by T'ang Kuang, this was one of 4 sections imitating the styles of the Sung painters Li Kung-lin, Liu Sung-nien, Ma Ho-chih, and Liang K'ai. Due to a fire in 1650, only this section in the Liang K'ai style remains. The style is very cursive, similar to T'ang's Picking Lotuses (1520), dating it after the age of 50.&*1.王耀庭，〈明唐寅高士圖〉，收入王耀庭主編，《傳移模寫》（臺北：國立故宮博物院，2007年初版），頁40-41。 2.劉芳如，〈明唐寅高士圖〉，收入國立故宮博物院編輯委員會編，《明中葉人物畫四家特展－杜菫、周臣、唐寅、仇英》（臺北：國立故宮博物院，2000年初版），頁156-157。 3.江兆申，〈唐寅高士圖 卷〉，收入國立故宮博物院編，《吳派畫九十年展》（臺北：國立故宮博物院，1975年初版，1976年再版，1981年三版），頁307。 4.邱士華，〈明唐寅高士圖〉，收入何傳馨主編，《山水合璧：黃公望與富春山居圖特展》（臺北：國立故宮博物院，2011年五月初版一刷），頁308-309。&*故宮書畫錄（卷四），第二冊，頁175&*故宮書畫圖錄，第十八冊，頁289-292&*唐寅（1470-1523），字伯虎，號六如，蘇州人。 天賦多才，狂逸不羈。畫師周臣而過之，為吳門四家之一。 起首描繪僮僕一名，紙筆書硯等物散落地面，三位高士仰頭暢談，卷末石桌上空白紙卷垂墜到地。全圖用筆暢健縱逸，脫胎於南宋禪僧梁楷的簡率風格，應為唐寅五十歲左右的傑作。1650年吳洪裕以珍愛之物〈富春山居圖〉等投火殉葬，此圖亦在其列。原作分別臨仿李公麟、劉松年、馬和之、梁楷的畫風。火焚後，前三段已燬，唯第四段保存至今。(20110609)&*Tang Yin (style name Bohu, sobriquet Liuru), a native of Suzhou, was a man of great talent and many gifts who was also eccentric and unbridled by nature. He studied painting from Chou Chen but far surpassed him, becoming one of the Four Masters of the Wu School. Depicted at the beginning of this scroll on the right is an attendant. Such objects as paper, brush, and inkstone appear on the ground as three lofty scholars look up chatting to their hearts’ content. A blank scroll of paper on the stone table at the end has also unrolled onto the ground. The brushwork throughout the work is powerfully free and leisurely unrestrained, emerging from the simple and direct Chan-monk style of Liang Kai in the Southern Song; this is a masterpiece by Tang Yin probably from around the age of fifty. When Wu Hongyu on his deathbed consigned his treasured “Dwelling in the Fuchun Mountains” and other artworks to the flames, this scroll was among them. The original consisted of imitations in the painting styles of Li Gonglin, Liu Songnian, Ma Hezhi, and Liang Kai. Though the first three sections of the scroll were unfortunately destroyed by fire, this, the fourth section, has survived to the present day.(20110609)
- 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
