明沈周墨菊 軸
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- 資料識別：
- 故畫000449N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 沈周
- 主題與關鍵字：
- 菊
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 137.3x32.2公分、全幅 61.5公分
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1792&*故宮書畫錄（卷五），第三冊，頁329&*故宮書畫圖錄，第六冊，頁237-238&*1.江兆申，〈沈周墨菊 軸〉，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299。 &*沈周（西元一四二七至一五0九年），長洲人，字啟南，號石田，亦稱白石翁。詩書畫兼擅，山水花卉禽魚悉入神品，為明四大家之一。秋菊一株，亭亭玉立，用筆極生動而極穩定，覺於嬝嬝淨妍之中，自有風霜之氣。款書亦著意，其厚重沉徹處，真所謂導之泉注，頓之山安，書畫相彰，可稱聯璧矣。&*Shen Chou was born into a distinguished family of Soochow scholars and artists. He did not seek an official career in government, but chose a quiet life devoted to his interests in poetry, painting and calligraphy. In painting, Shen followed the tradition of the great Yuan dynasty landscapists and Sung dynasty masters Tung Yuan and Chu-jan. A spray of autumn chrysanthemum lies poised on the picture surface. The brush is handled with great vigor and control, giving one the feeling that amidst the pure beauty, there is a weathered crispness to the blossoms and the stalk. The long inscription was also executed with great care. The full-bodiedness carries a sinking penetration recalling Sun Ch'ien-li's (T'ang dynasty) words that the fluency possesses the directness of spring water and the pauses the stability of a mountain. Here the poetry and painting truly complement each other.&* 秋菊一枝，亭亭獨立，上題七言絕句一首，字與畫幾各佔紙之一半，中留微隙。宋以前畫名款外絕無題字，而不署名款者居多。北宋惟徽宗有自題畫幅。至南宋，馬和之馬遠馬麟之作，宋寧宗及楊皇后多在畫上題詩詞。至錢選趙孟頫後自題之作始數數見，然皆字不掩畫。沈周此題幾書與畫地位並重，唐寅文徵明亦間有此種。畫無年款，疑與寫生冊為同時先後之作。弘治甲寅（一四九四）六十八歲。 &*1494 Shen Chou Monochrome Ink Chrysanthemums The painting depicts a single chrysanthemum plant standing alone with a four-line stanza of seven-charater lines above. The painting and the poem each occupy a half of the paper. The center is empty. Before the Sung Dynasty the artist seldom wrote anything other than his signature on his paintings, and many paintings were not even signed. In the Northern Sung only the Emperor Hui-tsung (r. 1100-1125) himself inscribed paintings. In the Southern Sung the Emperor Ning-tsung (r. 1195-1225) and Empress Tang often wrote poems on the paintings of Ma Ho-chih, Ma Yüan, and Ma Lin. It was not until the early Yüan Dynasty (1279-1368) that such painters as Ch’ien Hsüan and Chao Meng-fu and their followers increasingly wrote inscriptions on their own works, but even then the inscriptions were kept subordinated to the painting itself. Shen Chou, however, in this work gives equal importance to the painting and calligraphy, and T’ang yin and Wen Cheng-ming followed his example. “Monochrome Ink Chrysanthemums” is not dated, but it was probably painted in the same year as an album of Sketches from Life dated 1484, when the painter was 67 years old.
- 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
