明唐寅山水 卷
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- 資料識別：
- 故畫001584N000000000
- 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：
- 籬笆、圍牆 帆船 寺廟 瀑布 橋 房舍 松 傢俱（屏風） 竹 齋館 侍從（侍女、童僕） 高士（士人、隱士） 江河、湖海
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 31.7x138 公分、隔水一 12.5公分、引首 31.7x78.3 公分、隔水二 14.3公分、隔水三 14.7公分、拖尾 31.7x227.4公分
- 關聯：
- 故宮書畫錄（卷八），第四冊，頁41&*故宮書畫圖錄，第十八冊，頁315-320&* 唐寅（西元一四七○年至一五二三年），江蘇吳縣人，字子畏，又字伯虎，號六如，賦性疏朗，狂逸不羈。弘治戊午舉南京解元，後牽連京試賄賂案，被謫為吏，從此絕意宦途，一心窮研詩、畫、書法。 唐寅嘗從沈周學畫，然以世間流傳唐畫多作周臣面目，故往往略其從沈之事。此卷山樹人物屋宇，在畫法上大抵皆似沈周，而密栗齊整，又類周臣之學劉（松年）李（唐）。故此幀製作，當在初去沈周始學周臣之際，蓋三十歲時所作。 &* T’ang Yin at one time studied under Shen Chou (1427-1509),but many of his extant works show the stylistic qualities of Chou Ch’en (fl. 1450-1535); thus is often neglected the fact of Shen’s mentorship. In this painting, the handling of mountains, trees, human figures and houses resembles Shen’s brushwork, while the meticulous treatment of the painting in general shows similarity to Chou Ch’en who styled himself after Liu Sung-nien and Li T’ang of the Sung dynasty. This painting was probably done when T’ang Yin was about thirty years old when he left Shen Chou and started to learn the style of Chou Ch’en, whom he eventually surpassed. T’ang Yin, a native of Wu, Kiangsu, had style names Tzu-wei and Po-hu and sobriquet Liu-ju. Bohemian by nature, he abandoned officialdom after an involvement in a bribery case in a chin-shih examination. Thereafter he devoted himself to poetry, painting and calligraphy. He is included as one of the four Masters of the Ming dynasty. &* 王穉登吳郡丹青志沈周傳云：「一時名士如唐寅文壁之流，咸出龍門，往往致於風雲之表」。唐寅從沈周學畫，因世間流傳唐畫皆作周臣面目，故往往略其從沈之事。此卷山樹人物屋宇，在畫法上大抵皆似沈周，而密栗齊整，又類周臣之學劉李。故此幀製作，當在初去沈周始學周臣之際，蓋三十歲時所作。畫經王穉登收藏，後穉登以賀武進縣令徐明宇生子，清初，經安歧收藏。&* Wang Chih-teng’s Wu-pu tan-ch’ing characterized Shen Chou’s impact on the younger generation: “All of the famous scholars of the time, like T’ang Yin and Wen Pei (wen Cheng-ming), went to the dragon’s door (i.e., came under the influence of Shen Chou); they are often seen among the wind and clouds.” T’ang Yin had studied painting with Shen Chou, but because his relationship with Chou Ch’en is usually stressed, the fact of his early closeness with Shen is frequently ignored. In this handscroll the treatment of the Mountains, trees, figures, and architecture is all based on Shen Chou, while the dense textures and careful arrangements are derived from Chou Ch’en’s teachings. Thus it was probably painted soon after T’ang Yin left Shen Chou to study with Chou Ch’en, i.e. when he was around 30 years old. It passed through the collection of Wang Chih-teng, who gave it as a congratulatory gift when Hsü Ming-yü of Wu-chin-hsien had a son. It was in the collection of An Ch’i during the 18th century. &*1.江兆申，〈唐寅山水真蹟 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300。
- 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
