明文徵明倣王蒙山水 軸
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- 資料識別：
- 故畫000517N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 文徵明
- 主題與關鍵字：
- 籬笆、圍牆 橋 亭 茅草屋 房舍 藤蘿 楊柳 松 文玩（琴棋書畫） 傢俱（屏風） 山徑 瀑布 侍從（侍女、童僕） 高士（士人、隱士） 石磴、棧道 溪澗、湍泉
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明世宗嘉靖十四年（1535）
- 格式：
- 本幅 133.9x35.7公分、全幅 57.2公分
- 關聯：
- 石渠寶笈續編（乾清宮），第一冊，頁417&*故宮書畫錄（卷五），第三冊，頁386&*故宮書畫圖錄，第七冊，頁79-80&*1.江兆申，〈文徵明仿王蒙山水 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310。 &*文徵明（西元一四七０－一五五九年），長洲（今江蘇蘇州）人。初名壁，字徵明，後以字行。亦字徵仲，號停雲生、衡山居士。詩文書畫並佳，畫師沈周，為明四大家之一。 成於嘉靖乙未（一五三五），為文徵明六十六歲之作。本幅畫疊巒飛瀑，山溪蜿蜒。全作景密而筆鬆，意精而蹟放，清奇渾厚。此幀紙狹而長，構景重疊而繁複。徵明晚年好作此種，晚期吳派亦多受此影響。&*Landscape after Wang Meng Wen Cheng-ming (1470-1559) Ming Dynasty Wen Cheng-ming was a native of Soochow who excelled at poetry, prose, calligraphy, and painting. For the latter, he studied under Shen Chou. Wen later became known as one of the Four Great Masters of the Ming. This work, Painted by Wen in 1535 at the age of 65, shows layers of mountain forms with a cascade falling in the background to the stream in the middle-and foreground. The dense scenery and loose brushwork reveal a pure yet solid effect that captures the essence through form. This scroll is tall and narrow with a complex composition layered high. Wen Cheng-ming often did such works in his later years. Late Wu School painting was also strongly influenced by them. &* 五月五日，倣王蒙山水軸。此幅構景重疊而繁複，略似沈周廬山高，而廬山高為寬紙短幅，其中時以雲水隔斷，此幀紙狹而長，峰巒晴爽，故更覺繁密重疊也。徵明晚年好作此種，晚期吳派亦多受此影響。結頂一山，石紋勾勒，甚為奇特，董其昌山水，常在群山中一兩處作奇石，蓋亦自此出。此幀董其昌旁題云：「文待詔倣黃鶴山樵，幾欲亂眞」，是出自由衷之讚語。此幀景密而筆鬆，意精而蹟放，清奇渾厚，兼而有之。是大家悉力之作。&*Landscape after Wang Meng Wen Cheng-ming (1470-1559) Ming Dynasty This handscroll was painted after Wang Meng’s landscape style. The composition is overlapping and very intricate, resembling Shen Chou’s “Lofty Mt. Lu.” But “Lofty Mt. Lu” is a short painting on wide paper. This is a long painting on narrow paper. Shen Chou’s composition is also interspersed with clouds and water throughout, while Wen Cheng-ming’s presents pointed hills and peaks in a refreshingly clear sky, providing an even greater feeling of density and intricacy. Wen Cheng-ming enjoyed painting this type of work late in his life, and the painters of the late Wu School were greatly influenced by it. A stone atop one of the mountains in this painting is executed in outline, a unique characteristic of Wen Cheng-ming’s which was the source of inspiration for Tung Ch’i-ch’ang’s odd rocks commonly placed in one or two spots amid many mountains. In a colophon on the side Tung Ch’i-ch’ang writes, “In imitating Wang Meng, Editorial Assistant Wen’s paintings could almost be mistaken for originals. The painting is intimate, the brushwork relaxed, and the idea is refined and free. The scene possesses strange and confused elements which Wen Cheng-ming has managed to unite.
- 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
