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明文徵明松聲一榻圖 軸
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- 典藏尺寸本幅@#@127.1x27.2
- 質地本幅@#@紙
- 題跋資料作者款識@#@文徵明@#@本幅@#@六月飛泉瀉玉虹。仙人虛閣在山中。四簷秀色千峰雨。一榻松聲萬壑風。徵明。@#@草書
- 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@#@養心殿鑑藏寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@鑑藏寶璽@#@宣統鑑賞@#@@#@鑑藏寶璽@#@無逸齋精鑑璽
- 主題主要主題@#@山水@#@@#@主要主題@#@樹木@#@松@#@@#@次要主題@#@山水@#@瀑布@#@@#@次要主題@#@建築@#@橋@#@@#@次要主題@#@人物@#@高士（士人、隱士）@#@１人@#@@#@次要主題@#@山水@#@江河、湖海@#@@#@其他主題@#@樹木@#@寒林．枯樹@#@枯樹@#@@#@其他主題@#@建築@#@水榭@#@@#@其他主題@#@山水@#@山徑@#@@#@其他主題@#@樹木
- 技法皴法@#@@#@人物衣紋描法(勻稱線條)
- 參考資料收藏著錄@#@石渠寶笈初編（養心殿），上冊，頁654@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁372-373@#@@#@收藏著錄@#@故宮書畫圖錄，第七冊，頁117-118@#@@#@參考書目@#@1.江兆申，〈文徵明松聲一榻〉，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316。 @#@@#@參考書目@#@吳誦芬、童文娥、譚怡令，〈明文徵明松聲一榻圖 軸〉，收入《明四大家特展－文徵明》（臺北：國立故宮博物院，2014.03），頁76-77、319-320。@#@@#@內容簡介（中文）@#@ 紙質甚疏，畫前曾用膠礬，故拒不受墨。紙膚亦有剝落，然筆墨佳處，未盡受損。徵明畫軸，自倣王蒙山水（一五三五）起，構圖已趨重叠而滿幅。至洞庭西山（一五四八），古木寒泉（一五四九），千巖競秀（一五五○），皆累年若此。故此種章法，足可代表徵明晚年風格。文徵明小行書，中年結體瘦長，晚年則漸趨肥短。本幅構圖，近樹特為高大，山形重叠特起，與千巖競秀極接近。款書與獨樂園記（一五五八）相近，故置於是年。是年辛亥（一五五一），文徵明八十二歲。@#@@#@內容簡介（英文）@#@1551 Wen Cheng-ming Relaxing to the Sound of Pines The texture of the paper used for “Relaxing to the Sound of Pines” is very coarse; consequently it was heavily sized with alum and glue before painting. Thus the paper did not absorb the ink. The surface has also suffered damage from peeling and flaking, but fortunately the damage does not extend over the painted areas. Wen Cheng-ming’s hanging scroll compositions, beginning with “ Landscape in the Style of Wang Meng” (1535), tend increasingly toward filling the entire surface with ever-rising ranges of peaks. Such works as “Tung-t’ing West Mountain” (1548), “Old Trees by a Cold Waterfall” (1549), and “A Thousand Peaks Vying for Splendor” (1550) accumulate with the years. Therefore we may take this type of composition as representative of Wen Cheng-ming’s late style. His small semi-cursive calligraphy tended in his middle years to be slender and elongated; as he got older his brushstrokes gradually became shorter and thicker. The composition of “Relaxing to the Sound of Pines”, particularly the very tall foreground trees and the multiple ranges of peaks filling the surface, is very similar to “A Thousand Peaks Vying for Splendor”, and the calligraphy in the inscription is close to that on his “Record of the Garden of Solitary Pleasures” of 1558. Thus it was probably painted around 1551, when Wen Cheng-ming was 82 sui.
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