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- 資料識別：
- 故畫000937N000000000
- 資料類型：
- 繪畫
- 著作者：
- 文徵明
- 主題與關鍵字：
- 寒林．枯樹 文玩（琴棋書畫） 橋 松 瀑布 高士（士人、隱士） 侍從（侍女、童僕） 溪澗、湍泉
- 日期：
- TIME STAMP:05-12月-05
- 格式：
- 本幅 348.2x104.6公分&全幅 116公分
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1925&故宮書畫錄（卷五），第三冊，頁373&故宮書畫圖錄，第七冊，頁121-122&文徵明（西元1470－1559年）﹐江蘇長洲人。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﹐與沈周﹑唐寅﹑仇英合為「明四大家」﹐畫從沈周出﹐而別有成就﹐影響明朝晚期畫風甚鉅。 畫松陰下﹐兩士人隔溪趺坐﹐揮麈對談﹐一童攜琴自松間而來﹐山崖巍峨﹐險峻外露﹐筆勢奇絕崩雲﹐運筆沈雄有力。松林挺拔俊秀﹐松針亂筆重疊﹐用濃淡墨分兩次點成﹐淡裡求濃﹐於雅澹中見其渾厚。 綜觀本院收藏文徵明之畫﹐大致可分兩類﹐一種是細緻秀潤﹐尤工精細小幅﹐多為淺絳青綠山水﹐構圖繁複而不全依自然﹐尤其晚年喜歡在狹長的畫幅中﹐一層層向上堆疊延伸。粗壯之筆﹐偶一為之﹐與沈周恰好相反﹐故世之所重者﹐為「粗文細沈」。本圖畫幅特大﹐且筆法相當粗放﹐有詩而無紀年﹐也未見於其他著錄或收傳印記﹐在《寶笈三編》則作「文徵明松陰趺坐」（註1）﹐約嘉慶（1796－1280）年間進貢入清宮。本幅在筆法上﹐與其五十歲時所作巨幅之〈絕壑高閒〉（註2）﹐有異曲同工之妙﹐用筆皆粗朗挺勁﹐題材亦描寫文士生活﹐應是同期之作品。就氣勢方面來說﹐是他罕見的佳作。（童文娥） 註1：國立故宮博物院編﹐《石渠寶笈三編》（四）（臺北：國立故宮博物院﹐1969）﹐頁1925。 註2：國立故宮博物院編﹐《故宮書畫圖錄》（七）（臺北：國立故宮博物院﹐1991）﹐頁57-58。&文徵明（西元一四七○－一五五九年），江蘇長州人。初名壁，字徵明，後以字行。畫師沈周（一四二七－一五○九），詩文書畫均佳，為明中葉四大家之一，對明末畫壇影響甚鉅。 本幅畫高士二人，隔溪閒話，一僮攜琴，自松間來。近景松林，筆墨細淡，結頂一山，卻粗重如奔雲，命意堪稱奇絕。文徵明個性謹飭，工畫精細小幅，此幀屬高頭巨製，於文畫中極為罕見。 &Wen Cheng-ming was a native of Soochow who learned painting from Shen Chou (1427-1509). Wen excelled at poetry, prose, calligraphy, and painting, being one of the Four Masters of the middle Ming and having a great influence on later Ming painting. In this painting sit two gentlemen conversing on either side of a stream as an attendant approaches with a wrapped zither from the left. The pine trees are rendered with delicate and light ink, in contrast to the convoluted mountain forms. Wen Cheng-ming was reserved by nature, as seen in his small and delicate paintings. This work, on the other hand, is rather large and bold, being rarely seen in his repertoire. & 文徵明（西元一四七○－一五五九年），江蘇長洲人。本名壁，字徵明，後來以字代名，別號停雲生、衡山居士。詩文書畫的造詣都非常高，興沈周、唐寅、仇英共稱為「明四大家」。 松林間，一道清泉曲折流過，樹下兩名士人，他們整個的注意力，正投注於林泉之中，畫面清逸。文氏作畫大多細緻秀潤，本幅的筆法則相當粗放，且畫幅特別大，在氣勢方面來說，是他罕見的佳作。巖石遠山的畫法，脫胎於吳鎮。 &Looking at a Waterfall from under Pines Wen Cheng-ming (1470-1559) Ming Dynasty Wen Cheng-ming was a native of Ch’ang-chou, Kiangsu. Originally Wen’s given name was Pi and his style name Cheng-ming, but he was later known by his style name. He also used the names T’ing-yün-sheng, and Heng-shan-chü-shih. As he excelled in poetry, belles-lettres, calligraphy and painting, Wen Cheng-ming is regarded as one of the Four Great Masters of the Ming dynasty. Two scholars have found a secluded spot next to a spring-fed stream winding amidst a dense pine forest where they quietly meditate on the purity of the environment. Most of Wen Cheng-ming’s paintings were done in a fine and elegant style; however, in this unusually large work, Wen employed a broader and looser brush mode. It can thus be numbered among his most visually powerful paintings. The painting style of the distant peaks resembles the style of the Yüan dynasty painter Wu Chen.
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
