明唐寅琴士圖 卷
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- 資料識別：
- 故畫001037N000000000
- 資料類型：
- 繪畫
- 著作者：
- 唐寅
- 主題與關鍵字：
- 飲食器 文玩（琴棋書畫） 傢俱（屏風） 香爐．火盆 瀑布 文房用具 珍玩．古玩 松 高士（士人、隱士） 侍從（侍女、童僕） 江河、湖海
- 日期：
- TIME STAMP:16-11月-06
- 格式：
- 本幅 29.2x197.5 公分&裱綾一 20.6公分&裱綾二 20.5公分&隔水一 11.7公分&裱綾三 20.7公分&拖尾 27.3x79.5 公分&裱綾四 20.7 公分
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1853-1854&故宮書畫錄（卷四），第二冊，頁179&故宮書畫圖錄，第十八冊，頁301-304&在山石雙松之間，數位僮僕正忙於烹茗煮茶，小几上與地上並且散列著書籍筆硯和鼎彝古玩，似乎是把風雅文人的書齋搬到了戶外。畫中主角人物楊季靜身著象徵高士的衣冠，赤足盤坐在水畔，面向江面撫弦彈琴，神態悠閒安詳。觀者似乎可以想像，清越的琴聲將順著琴士凝望的目光，以及涓涓瀑布流動的方向，在空曠的水面遠播飄揚。 本幅是唐寅為楊季靜（約1477－1530）所作的畫像。唐寅字伯虎，號六如，江蘇吳縣人，英才煥發，風流瀟灑，早負盛名，但因科場弊案所累，無法在仕途發展，遂以放蕩不羈之姿，活躍於江南詩文畫壇，售畫為生。他的畫藝學自周臣，山水、花鳥、人物俱精，是吳派重要畫家之一。楊季靜則是蘇州著名琴師，而且與當地文人交遊，本院也收藏有另一幅由文伯仁所繪的「楊季靜小像」。 唐寅為楊季靜畫過兩張像，現藏於美國佛利爾美術館的「南遊圖」（作於1505）成畫較早，本幅雖無紀年，從人物造型與畫風判斷，當為唐寅晚年之作。畫中繪人物衣紋流暢而秩序井然，畫山石的用筆則簡率隨意，和早期精謹工緻的風格有所不同。清新淡雅的設色，更為這應該是描繪夏日一景的畫面，憑添一股清涼氣息。 (馬孟晶) &唐寅為琴師楊季靜畫像，凡有兩件。其一為三十六歲作的「南遊圖」，其二即「琴士圖」，雖未繫年款，但畫中山石，皴法用筆飛舞，帶有荒率的趣味，應可歸為唐寅五十歲後的晚年之作。 根據畫中人的衣著，推知時令為夏季。琴音固然難以描繪，但唐寅借助背景淙淙的泉瀑與溪流，巧妙襯托出琴音的悠揚與曲折，讓觀者有肘腋生風，塵慮滌盡的意想，確屬其人物畫中的精彩之作。&The Zither Player T’ang Yin (1470-1523) Ming Dynasty This is one of two T’ang Yin portraits of the zither player Yang Chi-ching. One, entitled Southern Journey, was done at the age of 35, and the other is this work. Though undated, the dynamic texture strokes of the slopes and rocks are done in a unrestrained quality typical of his late works. Judging from the figure’s clothes, the season here appears to be summer. Sound is especially difficult to conjure in painting, but T’ang Yin cleverly takes the sound of the waterfall in the background to resonate and suggest the lyrical tones echoing from the zither, creating an intimate scene where the viewer is transported beyond the mundane world. As a result, it makes this work one of T’ang Yin’s masterpieces in figure painting. &唐寅（西元一四七０－一五二三年），江蘇吳縣人。字伯虎、子畏，號六如居士。賦性疏朗，狂逸不羈。弘治十一年，中南京鄉試解元。山水、人物、花鳥無所不精，畫師周臣，而有出藍之譽，為明四大家之一。 一琴士坐松林泉石間，輕撫琴絃，溪水淙淙，似與琴韻相和，四周擺設文玩鼎彝。畫中人楊季靜名淩，吳人，其父楊守素，善琴，季靜得其傳，以琴遊於公卿間，與唐寅、文徵明等友善，唐寅曾兩次圖其貌，此卷即其一。 &The Lutanist T’ang Yin (1470-1523) Ming Dynasty T’ang Yin was a native of Wu-hsien, Kiangsu. His style names were Po-hu and Tzu-wei; his sobriquet was Liu-ju Chü-shih. His personality was that of an unrestrained genius, and he was by nature quite unconventional. In 1498, he earned the highest score on the Nanking provincial examinations. He excelled at landscape, figure, and flower and bird paintings. He studied painting from Chou Ch’en, but soon surpassed his teacher. He is considered one of the Four Masters of the Ming Dynasty. A scholar sits playing the lute among rocks, pines, and water. He lightly strums the lute strings to accompany the gurgling of the nearby stream. He is surrounded by the accoutrements of a literatus, and an attendant prepares his tea. This composition is an elegant portrayal of the scholarly life style. This musician is Yang Chi-ching, also of Wu-hsien. His father was a talented lutanist, and Chi-ching inherited his father’s gift. He was a close friend of both T’ang Yin and Wen Cheng-ming (1470-1559), and was painted by T’ang Yin twice.
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
