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明戴進長松五鹿 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者戴進,Dai Jin
- 色彩設色
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@142.5x72.4
- 質地本幅@#@絹
- 題跋資料題跋@#@文徵明@#@本幅@#@徵明題靜菴筆@#@草書@#@長松鬱鬱映雙泉。麋鹿為群五福全。塵土不生巖野靜。始知平地有神仙。徵明題靜菴筆。
- 印記資料鑑藏寶璽@#@嘉慶御覽之寶
- 主題主要主題@#@山水@#@@#@主要主題@#@走獸@#@鹿@#@@#@主要主題@#@樹木@#@松@#@@#@次要主題@#@山水@#@雲@#@@#@其他主題@#@山水@#@瀑布@#@@#@其他主題@#@山水@#@溪澗、湍泉@#@@#@其他主題@#@樹木
- 技法寫意@#@@#@皴法@#@斧劈皴@#@@#@皴法@#@米點皴@#@@#@苔點
- 參考資料收藏著錄@#@故宮書畫錄﹝卷五﹞，第三冊，頁297@#@@#@收藏著錄@#@故宮書畫圖錄，第六冊，頁113-114@#@@#@參考書目@#@1.〈明戴進長松五鹿〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁169-170。 2.晉介塵，〈「戴進作品展」導讀 — 戴進長松五鹿〉，《故宮文物月刊》，第209期（2000年8月），頁88-89。 @#@@#@內容簡介（中文）@#@此幅雲泉深邃，群鹿遊息松間。近景松林占畫面大半，中景幾乎消失，遠景高山雲煙飄渺。構圖呈現實與虛、動與靜、繁與簡之對比，卻又十分協調，極是活潑有趣。畫樹幹的筆法強勁，枝葉濃淡分明；遠山近石皆以長短不齊的線條層層皴寫，再加輪廓線勾勒形狀，並略以墨和汁綠烘染，摻揉了元代文人水墨畫風的情趣。本幅無作者款印，依文徵明題識，定為戴進之作。@#@@#@內容簡介（中文）@#@ 戴進（西元一三八八－一四六二年），浙江錢塘人。字文進，號靜庵，又號玉泉山人。畫風承襲南宋馬夏派與元朝李郭派，樹立明代浙派山水的風格。畫雲泉深邃，群鹿遊憩松間。近景松林占畫面大半，中景幾乎消失，遠景高山雲煙飄渺。構圖呈現實與虛、動與靜、繁與簡之對比，極其活潑。畫樹幹的筆法強勁，枝葉濃淡分明；遠山近石皆以長短不齊的線條層層皴寫，摻揉了元代文人水墨畫風的情趣。(20120103)@#@@#@內容簡介（英文）@#@ Dai Jin (style name Wenjin, sobriquet Jing’an), native to Qiantang, Zhejiang, followed the Southern Song Ma-Xia and Yuan dynasty Li-Guo schools to form the Zhe school landscape style. By a deep cloudy spring are deer at leisure among pines. Foreground pines occupy much of the surface, the middleground almost gone and distant lofty mountains enshrouded in cloudy mists. The composition suggests solid/void, movement/stillness, and complexity/simplicity all balanced and lively. Tree trunks are in forceful brushwork, the branches and needles clearly defined with light and dark ink. Distant mountains and foreground rocks are decorated with layered horizontal lines of varied length for a form and texture similar to Yuan literati ink painting.(20120103)@#@@#@內容簡介（英文）@#@This work depicts a herd of deer in a pine grove. The foreground trees, occupying much of the surface, are separated from the background by only a few clouds. The composition suggests solid and void, movement and stillness, and complexity and simplicity all balanced for a lively effect. The trees are done with forceful brushwork, and the branches and needles clearly defined with light and dark ink. The mountains and foreground rocks are decorated with horizontal lines arranged in layers to create form and texture. The washes of ink and green suggest the style of Yuan (1279-1368) literati. This work bears no seal or signature of the artist, but Wen Cheng-ming in his inscription in the upper left gives the name of Tai Chin.
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