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明沈周秋林讀書 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者沈周
- 色彩水墨
- 裝裱形式軸
- 創作時間明孝宗弘治四年（1491）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@154.3x31
- 質地本幅@#@紙
- 題跋資料作者款識@#@沈周@#@本幅@#@辛亥（西元一四九一年）孟秋廿日。沈周寓雙峨僧舍畫并題。@#@行書@#@山逈煙雲重。門閑草木深。讀書不出戶。誰識道人心。辛亥（西元一四九一年）孟秋廿日。沈周寓雙峨僧舍畫并題。
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@御書房鑑藏寶@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@收傳印記@#@休寧朱之赤珍藏圖書@#@@#@收傳印記@#@留耕堂印
- 主題主要主題@#@山水@#@秋景@#@@#@其他主題@#@建築@#@橋@#@@#@其他主題@#@建築@#@房舍@#@@#@其他主題@#@樹木
- 技法寫意@#@@#@皴法@#@@#@皴法@#@披麻皴
- 參考資料收藏著錄@#@石渠寶笈初編（御書房），下冊，頁1141@#@@#@收藏著錄@#@故宮書畫錄（卷八），第四冊，頁77@#@@#@收藏著錄@#@故宮書畫圖錄，第六冊，頁205-206@#@@#@參考書目@#@1.江兆申，〈沈周秋林讀書圖 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299。 @#@@#@參考書目@#@何炎泉、陳階晉、陳韻如，〈明沈周秋林讀書 軸〉，收入《明四大家特展-沈周》（臺北：國立故宮博物院，2014.01），頁78-79、314。@#@@#@內容簡介（中文）@#@ 周結緣僧寮，與高士往還，如大雲菴，竹堂寺皆常見於畫蹟。此幀款署弘治辛亥孟秋二十日，寓雙峨僧舍。雙峨僧舍者，疑即承天能仁寺，舊在吳縣皋橋之東，以寺前有二土阜，亦名雙峨寺。成化十年住持道澤重建大雄殿，吳寬為之作記。崇禎戊寅，浚井，得鄭所南鐵蘭心史。清康熙三十一年，寺廢。此幀紙狹長，圖纔及紙長之半。秋林稀落，四五樹作一叢，背後小山數叠，用意微師倪瓚，筆草草而不求工，然荒率中自有不可及處，六十五歲畫。（江兆申）@#@@#@內容簡介（英文）@#@ Shen Chou enjoyed visiting Buddhist monasteries and often traveled to them in the company of other scholars. For example, the Ta-yu-an and Chu-t’ang Temple often appear in inscriptions on his paintings. ”Reading in an Autumn Grove” is dated the 20th day, 7th month, 1491, and was painted when Shen Chou was staying at the Shuang-o Monastery. This monastery was probably part of the Ch’eng-t’ien-nung-jen Temple, formerly located to the east of Kao Ch’iao in Wu Prefecture. In front of the temple were two earthen mounds from which the name of the monastery (meaning twin prominences) was derived. In 1474 the head priest of the temple, Tao Che, rebuilt the Ta-hung Hall, and Wu K’uan wrote an account of the reconstruction. In 1638, when one of the temple wells was being redug, a copy of Cheng Ssu-hsiao’s autobiography was discovered. The temple was destroyed in 1692. The paper used for this painting is long and narrow; the painting occupies just half the length of the paper. A sparse grove of five autumnal trees stands in front of several small mountains. The idea is derived from Ni Tsan. The brushwork is sketchy and unconcerned with the appearance of skill; in some spots it has a recklessness that is unequalled in Shen’s other paintings. “Reading in an Autumn Grove” was painted when Shen Chou was 64.
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