石渠寶笈初編(御書房),下冊,頁1124&*故宮書畫錄(卷五),第三冊,頁324&*故宮書畫圖錄,第六冊,頁197-198&* 沈周(西元一四二七-一五○九年),江蘇長洲人。字啟南,號石田。恆吉之子,工書善詩文,畫為明四大家之一。 德徵,史永齡字也,吳江人。沈周有三女,最小者為德徵婦。丁未(一四八七)十二月初三日,與德徵夜坐,值雨,因作此畫贈之,時沈周年六十一歲。甲辰(一四八四)正月,曾同德徵往常熟,遊「至道觀」,周並曾為德徵作七星檜大卷。此幅用筆甚簡,如不經意,水墨淋漓中極盡煙雨迷離之態。 &*Rainy Thoughts Shen Chou (1427-1509) Ming Dynasty Shen Chou (style name Ch’i-nan, sobriquet Shih-t’ien) was born into a distinguished and well-to-do 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. He is one of the Four Great Masters of the Ming Dynasty. Te-cheng was the style name of Shih Yung-ling, a native of Wu-chiang. The youngest of shen Chou’s three daughters was his wife. On the third night of the twelfth month of 1487 Shen Chou and Te-cheng kept night vigil together, watching the rain. Afterwards, Shen Chou did this painting as a gift for Te-cheng. Shen was sixty years old. In 1484 Shen Chou and Te-cheng had travelled together to Ch’ang-shu, to the Chih-tao Temple, and Shen had painted a large handscroll of the famous “Seven Junipers” of the temple as a gift for his son-in-law. The brush technique in “Rainy Thoughts” is very simple, as though casually done, But the wetness of the ink and the indistinctness of the forms perfectly express the rainy, misty atmosphere. &*1.江兆申,〈沈周雨意圖 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298。 2.〈明沈周雨意〉,收入國立故宮博物院編輯委員會編,《山水畫墨法特展圖錄》(臺北:國立故宮博物院,1987年七月初版),頁66。 3.蘇盈龍,《沈周山水畫風格辨真 》,國立臺南藝術學院藝術史與藝術評論研究所碩士論文,2000年。