明文徵明琴鶴圖清高宗御題 軸
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- 資料識別：
- 故畫002197N000000000
- 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：
- 松 芭蕉 萱花 齋館 鶴 文玩（琴棋書畫） 花器 房舍 梧桐 竹 侍從（侍女、童僕） 高士（士人、隱士）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 63.4x29.2公分、全幅 60公分
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1924&*故宮書畫錄（卷八），第四冊，頁80&*故宮書畫圖錄，第七冊，頁165-166&* 文徵明（一四七○－一五五九），初名壁，以字行，更字徵仲，號衡山居士，長洲（江蘇蘇州）人，為明代吳派領導畫家。五十四歲以歲貢至京，授翰林待詔，與修武宗實錄，後厭倦京師生活，返居故里，專意藝事。 本幅設色界畫重樓敞軒，賓主二人坐堂上對語，庭前桐蔭高松，一鶴啄苔，一童子捧琴至。筆墨清勁，設色雅淡，樓閣雖作界畫法，仍保持文人畫家雅逸之氣息。 &* Wen Cheng-ming was a native of Ch’ang-chou in Kiangsu province. Although his given name was Pi, he was best known by his style name Cheng-ming. Another style name was Cheng-chung. His sobriquet was Heng-shan chü-shih. He was the most influential leading master of the Wu school. At the age of fifty-three, he was recommended to the emperor as a tribute student, and received a position as Academician Awaiting Orders in the prestigious Institute of Academicians. he participated in editing the Wu-tsung shih-lu (Records of Emperor Wu-tsung). Later, he tired of the official life and returned to his hometown where he spent the rest of his life creating art works. This colored ruled-line painting consists of a two-storied pavilion with an open-air room on the first floor. There, the guest and host are conversing with each other. Pines and firmiana trees stand in the garden. A crane is picking up a piece of moss, and a servant boy is carrying a ch’in (Zither) to the hut. Color is refined. Although Wen Cheng-ming used a fine ruled-line painting style to depict the architecture, the work reveals a graceful and casual atmosphere which maintains the spirit of literati painting. &*1.國立故宮博物院編輯委員會，〈明文徵明琴鶴圖〉，收入國立故宮博物院編輯委員會編，《界畫特展圖錄》（臺北：國立故宮博物院，1986年初版），頁62。 2.江兆申，〈文徵明琴鶴圖 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317。
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 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
