故宮受贈文物選萃,頁76-77、140&*羅家倫夫人張維楨女史捐贈書畫目錄,頁126-131、174-178&*石濤(西元一六四二-一七○八年)本名朱若極,明朝皇室後代。明亡之後出家為僧,遊歷於安徽宣城,後又遷居金陵、揚州等地。他善於畫山水、花果、蘭竹,人物畫較少見。筆意狂縱恣肆,用墨淋漓多變。提倡我自用我法,風格獨創。本畫作於一六七四年。畫松竹林野之間,手執鋤頭的青年石濤坐在松前,意態悠閒。乾渴的筆墨與清晰的線條性在畫家早年風格中常見。本幅為羅家倫先生捐贈。&*Shih-t'ao was a descendant of the Ming dynasty imperial family. Sometime after the fall of the Ming in 1644, he became a monk and came to live in such places as Hsuan-ch'eng (in Anhwei), Chin-ling (Nanking), and Yangchow. He later gave up the life of a monk and made a living as a professional painter. He excelled at painting landscapes, fruits-and-vegetables, and orchids-and-bamboo, but his figure paintings are less often seen. His brushwork was pure and his later works often employ moist ink. He is noted for advocating that one should find and create a unique style. According to Shih-tao's inscription here, this work was done in 1674, when he was in the Hsuan-ch’eng area. Among pines, bamboo, and rocks sits a young Shih-t'ao attended by a monkey and a child monk. Shih-t'ao appears by pine trees holding a hoe in a very relaxed manner. The dry brushwork and crisp lines are those often seen in the artist's early style. This work was donated to the National Palace Museum by Mr. Lo Chia-lun. &*石濤(西元1642-1708年),廣西桂林人。原名朱若極,為靖江王朱贊儀第十世孫。明亡後在全州投寺為僧,改名原濟,號大滌子、清湘老人、苦瓜和尚。曾遊歷安徽宣城,及金陵、揚州等地。善畫山水、花果、蘭竹,筆墨縱恣,倡我用我法,脫盡前人窠臼。 本幅為羅家倫夫人張維楨女士捐贈文物。淺設色畫石濤一手握鋤,於松樹下悠閒適坐。左方分別繪一猿、一僧,合力抬著一株連根小松,送來讓石濤種植。全畫構圖,頗富奇思。石濤的骨相清?,面部採紅赭渲染,形象逼真。衣紋全以白描細線,順著身體層層鉤圈,呈無數平行弧線,饒有「曹衣出水」筆法的遺意。(註1) 由於石濤曾在涇川的小寺裡寄寓過一段時期,該地距黃山甚近,故移黃山的松樹植於寺中,又蓄養一隻猿猴為伴。「自寫種松圖小像」,正是當時生活景況的如實記錄。(註2)按自題詩之紀年「甲寅」(1674)推算,時石濤年僅三十三。幅上並有戴本孝、王概、汪士茂等多人跋語,可據以詳其流傳始末。(註3)清中葉,羅聘(1733-1799)曾節臨此作,裱裝為「清元濟書道德經」冊第一開,亦收藏於台北國立故宮博物院。(劉芳如)註1:「曹衣出水」的形象,遠源於印度佛教彫刻,在中國則有北齊曹仲達(六世紀後半)傳此法。註2:參鄭拙廬,《石濤研究》(香港:中華書局,1977),頁16。註3:參國立故宮博物院編,《張岳軍先生王雪艇先生羅志希夫人捐贈書畫特展目錄》(台北:國立故宮博物院,1978),頁234-237。及國立故宮博物院編,《羅家倫夫人張維楨女史捐贈書畫目錄》(台北:國立共宮博物院,1996),頁174-178。&*1.王耀庭,〈清石濤自寫種松圖小照〉,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50。 2.劉芳如,〈帝國的回憶 國立故宮博物院瑰寶赴法展專輯二 — 石濤自寫種松圖小照〉,《故宮文物月刊》,第186期(1998年9月),頁58-59。