明沈周參天特秀 軸
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- 資料識別：
- 故畫002144N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 沈周
- 主題與關鍵字：
- 松
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明憲宗成化十五年（1479）
- 格式：
- 本幅 156x67.1 公分、全幅 91公分
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁1141&*故宮書畫錄（卷八），第四冊，頁77&*故宮書畫圖錄，第六冊，頁195-196&* 沈周（西元一四二七－一五○九年），江蘇長洲人。字啟南，號石田，又號白石翁。為人寬厚，能詩文，工書法，又善山水，並兼工花卉、翎毛。 遼陽劉獻之來吳，與沈周相識於姑蘇臺，沈周因寫此幅贈之。獻之為材士，而松亦具凌雲之意，蓋以松喻人。本幅為沈周五十三歲所作，畫筆於此時已由早期之雅秀漸轉為粗勁。 &*Shen Chou (1427-1509), a native of Soochow, was magnanimous by nature and a gifted poet, writer, calligrapher, and painter. Although best known for his landscapes, he was equally talented at depicting flowers, fruit, and birds in monochrome ink. When Liu Hsien-chih of Liao-yang came to Wu County, he met Shen Chou at Ku-su-t’ai, and Shen painted this work for him accordingly. Liu was an able man, and the pine tree here also embodies the similar characteristics of a man with lofty ideals; Shen thus utilized the pine tree as a metaphor for Liu. This painting was done when Shen was 52, and his brushwork has already become thick and forceful, a gradual shift from the elegant brushstrokes of his earlier years. &* 遼陽劉獻之來吳，與沈周相識於姑蘇臺，周因寫此幅贈之。獻之材士，而松亦具凌雲之高，蓋以松喻人也。畫此時為己亥（一四七九）周年五十三歲。後七年乙巳（一四八五）劉獻之以此幅轉贈陳鳳翔，陳又持來求沈周為之重題。後題周年五十九歲。五十三歲之題，筆力猶弱，與五十歲林逋手札二帖題句極接近。其中「我」字「有」字兩幀俱有，用筆結體，幾於雷同。五十九歲之題，則筆力遠為老練。畫筆始於此時由雅秀漸趨粗勁。&*When Liu Hsien-chih of Liao-yang came to Suchou, he and Shen Chou met at Ku-su-t’ai (on Mt. Ku-su near Suchou). Therefore Shen Chou painted this scroll as a gift for Liu. Liu was a scholar of outstanding qualities, just as the pine stretches upward toward the clouds, passing out of the painting. Shen Chou thus draws an analogy between the pine and the man. When he did this painting in 1479, Shen Chou was 52 years old. Six years later, in 1485, Liu Hsien-chih gave it to Ch’en Feng-hsiang, who asked Shen to inscribe the painting again. The later inscription was written when he was 58 years old. The earlier colophon is rather weak and is very similar to the inscription on Lin P’u’s calligraphy written three years earlier. The characters 我and 有are particularly close in composition and technique. The 1485 inscription, on the other hand, shows maturity and experience. The period of this painting, around 1480, marks the beginning of Shen Ch’ou’s prime as a painter. &*1.江兆申，〈沈周參天特秀 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296。
- 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
