明陳淳寫生 卷
推薦分享
資源連結
連結到原始資料 (您即將開啟新視窗離開本站)後設資料
- 資料識別：
- 故畫001062N000000000
- 資料類型：
- 繪畫
- 著作者：
- 陳淳
- 主題與關鍵字：
- 水仙 牡丹 梔枝 菊 蓮荷 蘭．蕙 茶花
- 日期：
- 明世宗嘉靖十七年（1538）
- TIME STAMP:10-7月 -06
- 格式：
- 本幅 34.9x253.3公分&隔水一 14.2公分&隔水二 14.2公分&拖尾 34.9x428.3公分&隔水三 10.4公分
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁1034&故宮書畫錄（卷四），第二冊，頁205&故宮書畫圖錄，第十九冊，頁171-176&陳淳（1484－1544），江蘇長洲人。字道復，後來以道復而聞名，改字復甫，號白陽山人。畫家天資聰穎，才華甚高，凡經學、古文、詩詞、書法，無不精研通曉。嘗從文徵明學書畫，極得文氏的讚許。畫擅長寫意花卉，尤妙寫生，後人把他同徐渭並稱「青藤、白陽」，代表明代中期水墨寫意花卉畫的新格調。亦畫山水，筆迹放縱，對後世水墨寫意畫甚有影響。 將四季花卉數種，以折枝的形態穿插安置在手卷中，這是明代畫家描繪花卉所常用的表現手法。依幅後拖尾自題，此卷作於1538年，年55歲。幅中折枝牡丹、蘭、竹、槴子、荷花、水仙、山茶，並未安置在同一水平線上，高低遠近又相互呼應的擺設，使構圖活潑而生動。無論一筆揮就的中鋒線條或是側臥的墨點塊，皆因水份飽滿，濃淡墨色極具變化且行筆快速，而呈現豪邁放逸的筆調。在花卉造型上，鈎花點葉的表現法，葉片呈正面平展，無向背，鈎勒葉脈的線條使轉自由率性，這些都是畫家個人風格的表現。在畫本幅之後，又接了一段畫家草書七言古詩一首，筆蹤瀟灑，有筆飛墨舞之姿。詩圖相契，可視為畫家晚年畫風的代表之一。（張華芝）&陳淳（西元一四八四—一五四四年）是明代中期，蘇州地區的藝術家，兼善詩、書、畫三藝。他曾以諸生資格貢入太學，卒業後，放棄作官的機會，回到蘇州，過著縱情於藝術創作的生活。 這件草書寫於五十五歲（一五三八），每行一字至三字，運筆提頓扭轉，左傾右倒，或節制或奔放，如醉歌狂舞，縱橫爭折，毫穎分叉，不加修飾的筆觸，形成若虛若實的飛白筆畫，極富律動的美感。（拖尾之陳淳題草書詩） &Ch'en Shun was an artist in the Soochow area during the middle Ming who excelled at poetry, calligraphy, and painting. Although qualified to join the Court University, he gave up the chance for officialdom after graduating and returned to Soochow, where he enjoyed the freedom to create in art. This work in cursive script was done in 1538 at the age of 54. Each line contains one to three characters. The energetic application, lifting, and turning of the brush reveals characters that lean precariously with restraint as well as freedom--as if in an inebriated dance as they spill across the handscroll from right to left in a beautiful harmony. The split tip of the brush here resulted in an unadorned “flying white” effect of black and white when the paper shows through the ink. &陳淳（西元一四八三─一五四四年），長洲（江蘇蘇州）人。本名淳，字道復，後以字行，再改字復甫，別號白陽山人。生性穎悟，天才秀發，曾遊學文徵明門下，徵明僅謙稱為其舉業師，而不敢以書畫師自居。 陳淳專攻花卉，精研水墨法，筆簡意全，前人批評為「一花半葉，淡墨欹豪，疏斜歷亂之致，咄咄逼真」，為後世水墨寫意畫家的宗師。幅中之牡丹花呈正面，水墨濃淡渾然一片，雖不設色，有五彩鮮麗的感覺。&Painting from Nature Ch’en Ch’un (1483-1544) Ming Dynasty Ch’en Ch’un (sobriquet Po-yang shan-jen) was more commonly known by his style name, Tao-fu. He was a native of Ch’ang-ch’üan, Kiangsu, and was exceptionally gifted. His teacher, the famous painter Wen Cheng-ming (1470-1559), said of Ch’en that he himself could only suffice as Ch’en’s elementary teacher and that he dared not call himself Ch’en’s painting or calligraphy instructor. Ch’en Ch’un devoted himself to painting flowers and plants and specialized in the monochrome ink method. His brushwork is minimalist, yet remarkably expressive. It has been said, “If Ch’en paints even one flower and half a leaf, the ink wash is superb, the composition exquisite, and the result incredibly lifelike.” He was the forerunner of later schools of monochrome ink sketches. This peony in light and dark ink is depicted from the front. Even though executed in monochrome ink, it conveys a colorful and fresh feeling.
- 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
