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明唐寅臨水芙蓉圖 軸
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- 典藏尺寸本幅@#@51.8x26.7
- 質地本幅@#@紙
- 題跋資料作者款識@#@唐寅@#@本幅@#@唐寅為靜昭畫@#@行書
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@乾隆鑑賞@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@御書房鑑藏寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶
- 主題主要主題@#@花草@#@芙蓉@#@@#@次要主題@#@花草@#@蘆葦@#@@#@其他主題@#@山水@#@江河、湖海
- 技法寫意@#@@#@皴法@#@@#@皴法@#@斧劈皴
- 參考資料收藏著錄@#@石渠寶笈初編（御書房），下冊，頁1126@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁392@#@@#@收藏著錄@#@故宮書畫圖錄，第七冊，頁23-24@#@@#@參考書目@#@1.江兆申，〈唐寅臨水芙蓉 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306。 2.〈明唐寅臨水芙蓉圖 軸〉，收入譚怡令、劉芳如、林莉娜主編，《滿庭芳-歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁156-157。@#@@#@參考書目@#@林莉娜、陳建志、鄭淑方，〈明唐寅臨水芙蓉圖 軸〉，收入《明四大家特展-唐寅》（臺北：國立故宮博物院，2014.07），頁184-185、311。@#@@#@內容簡介（中文）@#@唐寅（1470-1523），字伯虎，江蘇吳縣人。他在書、畫、詩文各方面，均有過人的才具，而且個性疏放不羈，是明代中期蘇州地區，極具知名度的文人兼職業畫家。 本幅以水墨寫意法，畫秋天的溪石間，一株含苞的木芙蓉，嫋嫋下垂，宛若美人臨水自照，波光花影，相映益顯窈窕。全畫的構景簡潔，筆致勁銳，展現出一派文人瀟灑、清雅之氣。右上方自題是為好友靜昭所作，由風格判斷，約完成於唐寅五十歲前後。(20110102)@#@@#@內容簡介（中文）@#@唐寅（西元一四七０－一五二三年）蘇州人，字伯虎，又字子畏。性疏朗，狂逸不羈。秉賦靈異，詩、書、文章、繪事無一不臻其妙。寅善書，其法出入趙孟頫、顏真卿、李邕諸大家間。尤善畫，學周臣、沈周，又自師古人，而才氣蒸騰，遂至睥睨當代，與宋元諸大家並立而無愧色。舉凡山水、人物、士女、樓觀、花鳥，無不精絕。本幅畫芙蓉一朵，葉數枚，下臨水石，筆墨至簡，而表現出一股清雅之氣。畫約成於唐寅五十歲左右。@#@@#@內容簡介（英文）@#@T’ang Yin (tzu Po-hu, Tzu-wei) was a native of Suchou, Kiangsu. By nature distant and rustic he lived without restrictions. Often he and his close companion Chang Ling would play games and drink wine rather than concentrate on their work. However, T’ang Yin was brilliant and excelled in poetry and prose as well as in calligraphy and painting. He took first place in the provincial examination in 1498 and thereupon had carved a seal which read “First in Nanking”. This and another of his seals which read “First with Ladies in Kiangnan” seem to reflect two aspects of his character. After he was slandered during the national examinations, he turned to Buddhism, residing in the Peach Blossom Studio and calling himself Liu-ju-chu-shih. A skilled calligrapher and painter, T’ang modelled himself on earlier masters: in calligraphy he followed Chao Meng-fu, Li Yung and Yen Chen-ching; in painting Chou Ch’en, Shen Chou as well as the Sung and Yuan masters. His talent was so great that it was said he surpassed contemporary masters and equaled the talent of the ancients. He painted in a variety of genres including landscape, figure, architecture and bird-and-flower painting and achieved distinction in all. The simplicity of the composition, a single hibiscus, a few leafy twigs, a stream and a rock is reaffirmed in the brushwork. The painting is thus imbued with a sense of grace and elegance.@#@@#@內容簡介（英文）@#@ Tang Yin (style name Bohu) was a native of Wuxian in Jiangsu. His talent in calligraphy, painting, and poetry surpassed that of many others, but he was also a loose and unbridled character. He was both a famous literati and professional painter in the Suzhou area during the middle Ming dynasty. This work, done in the “sketching ideas” method using only monochrome ink, depicts a stream bank in autumn with a stalk of cotton rose hibiscus in bud and blossom extending into the composition from the side and gently drooping downwards. Like a beautiful lady looking at herself in the water, waves and blossoms contrast with each other in a gentle and graceful manner. The composition as a whole is succinct and the brushwork quite strong and sharp, exuding an aura of literati pure elegance and natural unrestraint. The artist’s inscription in the upper right indicates it was done for his friend Jingzhao. Judging from the style, it was probably painted by Tang Yin around the age of 50.(20110102)
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