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明仇英桐陰晝靜圖 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者仇英,Qiu Ying,Qiu Ying
- 色彩設色,青綠
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@147x64.3@#@@#@詩塘@#@30.8x64.3@#@@#@全幅@#@177.8x94.4
- 質地本幅@#@絹@#@@#@詩塘@#@紙
- 題跋資料作者款識@#@仇英@#@本幅@#@實父仇英製@#@楷書@#@@#@題跋@#@清高宗@#@詩塘@#@乾隆壬戌秋御題@#@行書@#@日長山静綠梧稠。坐聽沿階活水流。一室蕭然惟四壁。片言得意足千秋。心將太宇同寥濶。意與閒雲共去留。掩卷匡牀髙卧處。蝶原是我我原周。乾隆壬戌（西元一七四二年）秋御題。
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@嘉慶鑑賞@#@@#@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@#@寶笈三編@#@@#@鑑藏寶璽@#@宣統御覽之寶
- 主題主要主題@#@山水@#@@#@主要主題@#@樹木@#@梧桐@#@@#@次要主題@#@建築@#@齋館@#@@#@次要主題@#@建築@#@亭@#@茅亭@#@@#@次要主題@#@樹木@#@竹@#@@#@次要主題@#@山水@#@溪澗、湍泉@#@@#@次要主題@#@人物@#@高士（士人、隱士）@#@高士一人@#@@#@其他主題@#@花草@#@玉簪花@#@@#@其他主題@#@器用@#@傢俱（屏風）@#@躺椅一、長桌一@#@@#@其他主題@#@器用@#@文玩（琴棋書畫）@#@書@#@@#@其他主題@#@器用@#@文房用具@#@筆筒、毛筆、硯台、水洗@#@@#@其他主題@#@花草@#@萱花@#@@#@其他主題@#@花草@#@百合花@#@@#@其他主題@#@山水@#@瀑布
- 技法工筆@#@@#@雙鉤@#@@#@皴法@#@@#@人物衣紋描法(勻稱線條)@#@@#@苔點
- 參考資料收藏著錄@#@石渠寶笈三編（延春閣），第四冊，頁1879@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁354@#@@#@收藏著錄@#@故宮書畫圖錄，第七冊，頁255-256@#@@#@參考書目@#@許文美、劉芳如，〈明仇英桐陰晝靜圖 軸〉，收入《明四大家特展-仇英》（臺北：國立故宮博物院，2014.10），頁30-35、272、317。@#@@#@內容簡介（中文）@#@ 仇英，生卒不詳，其作品見於正德己巳至嘉靖壬子間（西元一五○九－一五五二年），垂四十餘年。太倉人，字實父，號十洲。畫師周臣，為明四大家之一。 臨水第軒，一人偃臥椅上，軒外桐梢障天，竹林冪地，幽泉隱咽於叢篁之間，飛瀑長懸於雲氣之外，蓋寫夏日景色而自有清涼之韻。仇英畫法精麗艷逸，畫樹亦如山石人物，筆筆週到。 @#@@#@內容簡介（中文）@#@ 仇英（約西元一四九四－一五五二年），江蘇太倉人。此圖繪文人在山林草堂讀書賞景的幽居生活，樹竹等描寫工整細緻筆法，賦色雅麗。皴筆多頓挫方硬，吸收文派細筆山水的技法，雖非出自仇英之手，當為明畫無疑。 一士人攤書於四面平條案上，閉目坐交椅上假寐。椅下部如同胡床，上部靠背板與座面為藤編物，上有一荷葉托首以托住頸部，非常舒適。此椅與《三才圖會》醉翁椅相同，扶手延伸較長，前腿間有踏床，是明代流行用具。上海博物館所藏仇英「梧竹書堂」與此圖構圖相同。 @#@@#@內容簡介（英文）@#@Reading Quietly in the Shade of Pawlonia Trees Ch’iu Ying (ca. 1494-1552) Ming Dynasty Chiu Ying was a native of T’ai-ts’ang, Kiangsu. In this painting, a scholar enjoys the quiet, peaceful scenery while taking a break from his studies in a thatched hall in the countryside. The trees and bamboo have been rendered with exceptional detail and the application of color is elegant and refined. The texturing has been done with a stiff and hesitant brush, reflecting the influence of the delicate landscape style associated with Wen Cheng-ming (1470-1559). Although this work is not by Ch’iu Ying, it is a superb example nonetheless. The scholar has placed his books on a table flush on all sides and sits with eyes closed as if at sleep on the foldable chair. The lower part of the chair is like that of a "barbarian seat," while the top has a headrest in the shape of a lotus-leaf to support the neck and make it even more comfortable. This is the so-called "Drunken Man’s Chair" found illustrated in the contemporary Pictorial Encyclopedia of Heaven, Earth, and Man (San-ts’ai t’u hui). The chair is reclinable with armrests and a footrest, and it was popular in the Ming dynasty. Ch’iu Ying’s "Studying in a Hall Among Bamboo and Pawlonia," now in the Shanghai Museum, is similar in composition to this work. @#@@#@內容簡介（英文）@#@Meditating Under the Shade of the Pirmiana Tree Ch’iu Ying (fl.ca. 1490-1552) Ming Dynasty Ch’iu Ying, a native of the Shanghai region, flourished near Soochou. His tzu (style name) was Shih-fu and his hao (sobriquet) was Shih-chou. He was instructed by Chou Ch’en, and although not of literati, he received the adulation of the literati and is considered one of the Four Great Masters of the Ming dynasty. A thatched hut opens to the cool of a flowing stream. A gentleman dozes inside the hut under the shade of a luxuriant firmiana tree, its branches stretching to the sky. Outside thickets of bamboo carpet the ground, the thickets partially enshrouded by the mist of a flying waterfall. Depicting a typical day of summertime leisure, the artist has successfully captured the idyllic mood of such a scene. His trees are painted with care, charm and refinement just as his mountains, rocks, and figures are.
- 地圖
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