明唐寅函關雪霽 軸
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- 資料識別：
- 故畫000470N000000000
- 資料類型：
- 繪畫
- 著作者：
- 唐寅
- 主題與關鍵字：
- 冬景（雪景） 獸力車 城牆 房舍 臺閣 牛 騾．驢 瀑布 行旅 寒林．枯樹 江河、湖海 溪澗、湍泉 石磴、棧道
- 日期：
- TIME STAMP:26-7月 -07
- 格式：
- 本幅 69.9x37.3公分&全幅 62.4公分
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1864&故宮書畫錄（卷五），第三冊，頁345&故宮書畫圖錄，第七冊，頁3-4&唐寅（西元一四七０－一五二三年），吳縣（今江蘇蘇州）人。字子畏，又字伯虎，號六如。天賦多才，賦性疏朗，狂逸不羈。弘治十一年，中南京鄉試解元。畫師周臣，而有出藍之譽。山水、人物、花鳥無所不精，為明四大家之一。 畫積雪巖關，旅人驅車而行。全幀大抵以斧劈皴皴寫，勁利瀟灑，間雜披麻、長皴等，皴法變化多端。此圖雖無年款，但據其畫風，疑為唐氏三十八歲左右之作。&Clearing after Snow on a Mountain Pass T’ang Yin (1470-1523) Ming Dynasty T’ang Yin, a native of Soochow, was a genius of many talents who led a free and unrestrained life. In 1498, he was first in the Nanking provincial exams. In painting, he studied under Chou Ch’en, whom he surpassed in fame. T’ang excelled at landscapes, figures, and birds-and-flowers, becoming known as one of the Four Masters of the Ming. In this work, snow is piled deep in a high mountain pass, where travelers proceed with ox-driven carts in the foreground. This scroll was rendered with axe-cut texture strokes, imparting beauty and sharpness. Other texture strokes include hemp-fiber and long ones for a variety of effects. Although undated, the style suggests this work was done by T’ang Yin at around the age of 37. & 唐寅（西元一四七○至一五二三年），江蘇吳縣人。字子畏，又字伯虎，號六如。天賦多才，生性疏放，狂逸不羈。弘治十一年，中南京鄉試解元，後牽連京試賄賂案，被謫為吏，從此絕意宦途，一心窮研詩、畫、書法。 全幀皴法變化極多，大抵以斧劈為主，有披麻，有長皴。寺宇上小三角山阜，更用焦墨乾筆上挑如Ｖ形。唐寅畫三十歲前近文沈面目，三十歲後力仿周臣，過四十，則長皴短砍，南北兼參。此圖惜無年款，疑成於三十八歲頃。 &Clearing after Snow on a Mountain Pass T’ang Yin (1470-1523) Ming Dynasty T’ang Yin was a native of Suchou. He was endowed with a great genius but was by nature somewhat careless and lived the life of an unrestained bon-vivant. In 1498 he earned the highest grade in the provincial examinations at Nanking, but he was later implicated in the bribing of a judge at the metropolitan examinations; he was disgraced and deprived of any chance at an official career. From that time on he devoted himself to poetry, painting and calligraphy. In this painting many types of texture strokes are used; in most areas the axe-cut ts’un predominates, but there are also hemp fiber ts’un and long straight strokes. Above the temple roof is a small triangular peak on which black ink is applied with a dry brush in V shaped strokes. T’ang Yin’s early works, up to about age 30, are related to the styles of Shen Chou and Wen Cheng-ming; between 30 and 40 he painted after the style of Chou Ch’en; after 40 he began to combine long texture strokes with the short axe-cut ts’un, thus integrating elements of the “Northern” (represented by Chou Ch’en) and “Southern” (Shen and Wen) traditions. “Clearing After Snow” is not dated, but it is probably a work of T’ang Yin’s 37th year.
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- 國立故宮博物院
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
