明周臣漁邨圖　卷｜國家文化記憶庫2.0

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明周臣漁邨圖　卷

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基本資訊

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原始資料連結
原始資料連結
資料來源
國立故宮博物院(舊)
主題分類
藝術與人文
建檔單位
國立故宮博物院

作者
周臣
色彩
設色
裝裱形式
卷
數量
一卷
集叢號-類型
單件
典藏尺寸
本幅@#@20.9x183.9@#@@#@隔水一@#@11.7@#@@#@裱綾一@#@16.3@#@@#@裱綾二@#@16.4@#@@#@隔水二@#@11.7@#@@#@拖尾@#@26.8x21.9
質地
本幅@#@絹@#@@#@拖尾@#@紙
題跋資料
題跋@#@清高宗@#@引首@#@癸巳（西元一七七三年）暮春月御題@#@行書@#@或周或唐未可知。西廬定為周所爲。豪髪雖不踰繩墨。有生動意斯誠奇。取魚之具罔不備。取魚之法罔不施。我欲僂指舉其目。大約弗出皮陸詩。浮家泛宅固莫定。而有定焉婦子隨。幾迴撫卷興慨歎。是中豈無王者師。癸巳（西元一七七三年）暮春月御題。@#@@#@題跋@#@王時敏@#@拖尾@#@丁酉夏日。西廬老人王時敏識。@#@草書@#@六如師承東村。後有出藍之譽。以六如清放特甚。而東村豪髮不踰繩墨者也。此卷樹石古雅。人物生動。真得南宋規度。而少軼宕之筆。當是東村佳製。惜題跋俱已割裂。為周為唐。世無辨者。余則以為非東村不能有此作也。丁酉夏日。西廬老人王時敏識。
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@#@石渠定鑑@#@@#@鑑藏寶璽@#@寶笈重編@#@@#@鑑藏寶璽@#@御書房鑑藏寶@#@@#@收傳印記@#@枝山（半印）@#@@#@收傳印記@#@南京解元@#@@#@收傳印記@#@六如居士@#@@#@收傳印記@#@唐寅之印@#@@#@收傳印記@#@文徵明印@#@@#@收傳印記@#@文彭@#@@#@收傳印記@#@太史氏
主題
主要主題@#@器用@#@耕織漁獵@#@漁（垂釣、魚網、魚罟、魚簍）@#@@#@次要主題@#@器用@#@飲食器@#@碗盤@#@@#@次要主題@#@人物@#@漁夫、船夫@#@@#@次要主題@#@船@#@篷舟@#@@#@次要主題@#@山水@#@江河、湖海@#@江河@#@@#@次要主題@#@人物@#@商販@#@魚販@#@@#@次要主題@#@建築@#@橋@#@@#@次要主題@#@人物@#@百姓@#@婦女、老人@#@@#@其他主題@#@建築@#@房舍@#@@#@其他主題@#@山水@#@田疇@#@@#@其他主題@#@樹木@#@@#@其他主題@#@翎毛@#@鵜鶘@#@@#@其他主題@#@樹木@#@楊柳@#@@#@其他主題@#@人物@#@孩童@#@@#@其他主題@#@山水@#@@#@其他主題@#@花草@#@蘆葦@#@@#@其他主題@#@船@#@漁船
技法
工筆@#@@#@寫意@#@@#@皴法@#@斧劈皴@#@@#@人物衣紋描法(粗細線條)
參考資料
收藏著錄@#@石渠寶笈續編（御書房），第四冊，頁1994@#@@#@收藏著錄@#@故宮書畫錄（卷四），第二冊，頁166@#@@#@收藏著錄@#@故宮書畫圖錄，第十八冊，頁233-236@#@@#@內容簡介（中文）@#@　　周臣（約西元一四五○至一五三五年），江蘇蘇州人，字舜卿，號東邨，善畫山水人物。山水師法宋人，得力於劉松年、李唐、馬遠、夏珪最多。用筆純熟慎密，風骨峭勁雅健，嘗傳授畫法於唐寅、仇英。　　本幅描繪江上捕魚人家的日常生活情景，極為細膩生動：有泛舟江上無所事者，有泊舟江邊打盹者，有舟船三兩相聚，船家相互飲酒作樂者，亦有漁夫與鵜鶘正在合力捕魚者。西行過了拱橋，田舍在望，此時漁家在岸邊用膳休息，漁獲也在此交易。通幅用筆謹細，設色雅淡，人物布景皆安排的條理有序。 @#@@#@內容簡介（中文）@#@周臣，生卒年不詳，約活動於十五世紀末至十六世紀初，字舜卿，號東邨，吳縣（今江蘇蘇州）人，善畫山水人物，主宗南宋院體畫風並融入文人筆墨情趣，唐寅、仇英為其門下高足，是位具有創新精神的職業畫師。本幅描繪江上捕魚人家的日常生活情景，有的張網捕魚，有的引酒作樂，或泊舟休息，人物刻畫細膩生動，用筆精整，各有意態，畫山石堅凝，設色古雅，空間佈景嚴謹。(20110405)@#@@#@內容簡介（英文）@#@ Zhou Chen, whose birth and death dates are unknown, was a native of Wuxian (modern Suzhou in Jiangsu). His style name was Shunqing and sobriquet Dongcun. He excelled at painting landscapes and figures, focusing on the Southern Song academic style combined with the brush and ink methods of literati painting. An innovative professional artist, two of his most famous pupils were Tang Yin and Qiu Ying. This work depicts the everyday life of fishermen on a river. Some catch fish or enjoy drink, or moor a boat at shore to rest. The figures are punctilious and lively, the brushwork refined and in various manners. The landscape is also solid and the arrangement of the scenery exact.(20110405)@#@@#@內容簡介（英文）@#@Chou Ch’en was a native of Wu-hsien, Kiangsu. His style name was Shun-ch’ing, and his sobriquet Tung-ts’un. He was a master of both landscape and figure painting. He based his style on the work of the Sung dynasty masters Li T’ang, Liu Sung-nien, Ma Yuan and Hsia Kuei. Chou’s mature brush was refined, bold and vigorous. He transmitted his style to the Ming masters T’ang Yin and Ch’iu Ying. This scroll depicts the everyday labors of fishermen, delightfully picturesque in their episodic arrangement. Activities range from idle conversation and wine-drinking, to fishing with trained cormorants, to the business of fish-marketting. Following the compositional arrangement from right to left, one’s eye is led along the river banks, across a gracefully arched bridge, to rice fields and distant farmhouses. Brush work is executed with meticulous care, and color applied sparingly but elegantly. The overall effect is a lighthearted yet realistic portrayal of the joys and toils of fishermen.