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- 資料識別：
- 故畫000387N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 王紱
- 主題與關鍵字：
- 茅草屋 籬笆、圍牆 文玩（琴棋書畫） 傢俱（屏風） 橋 山徑 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 119.8x40.1公分、全幅 64公分
- 關聯：
- 石渠寶笈初編﹝養心殿﹞，上冊，頁651&*故宮書畫錄﹝卷五﹞，第三冊，頁283&*故宮書畫圖錄，第六冊，頁53-54&*王紱（一三六二－一四一六），字孟端，號友石生，九龍山人。江蘇無錫人，明初以弟子員徵入京為官，因事受累，謫戌到山西大同十二年，後來囘無錫故里，隱居九龍山，永樂元年（一四○三）薦至南京，以善書供事文淵閣，晚年官至中書舍人，兩度隨成祖北巡，病逝於北京。 王紱畫風繼承元代文人畫傳統，重視筆情墨趣，是明代中期吳派畫的前導。此圖畫溪岸板橋，三樹挺立，樹石間籬院茅舍，一隱士捧書坐於敞軒中。筆法宕逸，墨色濃潤，是畫家即興寫意的佳作。 &*Wang Fu was a native of Wu-hsi, Kiangsu. His style name was Meng-tuan, and his sobriquets were Yu-shih sheng and Chiu-lung shan-jen. In the beginning of the Ming period, he was called to the capital as a Goverment Student and served as an official. Implicated in an offense against the suspicious emperor, he was exiled to Tatung in Shansi province for twelve years. Later he returned to his home, and lived in seclusion on Chiu-lung Mountain. In 1403, because of his excellence in calligraphy, he was recommended for a position in the Hall of Literary Profundity at Nanking. Wang Fu's painting style continued that of the Yüan dynasty scholar-artists, emphasizing the qualities of brush and ink. He therefore became the forerunner of the mid-Ming literati (Wu) school. In this painting, a wooden bridge spans a stream. Three trees stand on the bank. In a bamboo-fenced garden among trees and rocks is a thatched house. A gentleman-recluse reposes inside, holding a book. The relaxed brushwork and the moist, dark ink represent the highest achievement of the manner called "sketching idea".
- 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
