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明史文玉蟾圖 軸
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- 典藏尺寸本幅@#@201.2x106.8
- 質地本幅@#@絹
- 題跋資料作者款識@#@史文@#@本幅@#@玉蟾圖。梁楷之意。再僊作。@#@行書
- 印記資料鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@收傳印記@#@客□主人@#@@#@收傳印記@#@允斌氏@#@@#@收傳印記@#@鳳吹洛浦@#@@#@收傳印記@#@美人兮天一方
- 主題主要主題@#@佛道人物@#@道（道士、道姑）@#@劉海，道士@#@@#@次要主題@#@樹木@#@松@#@@#@次要主題@#@器用@#@葫蘆一@#@@#@次要主題@#@水中動植物@#@青蛙．蟾蜍@#@蟾蜍@#@@#@其他主題@#@其他@#@一串錢
- 技法寫意@#@@#@皴法@#@斧劈皴@#@@#@人物衣紋描法(減筆)@#@@#@苔點
- 參考資料收藏著錄@#@故宮書畫錄（卷八），第四冊，頁89@#@@#@收藏著錄@#@故宮書畫圖錄，第九冊，頁271-272@#@@#@參考書目@#@1.王耀庭，〈明史文玉蟾圖〉，收入王耀庭、童文娥編，《長生的世界：道教繪畫特展圖錄》（臺北：國立故宮博物院，1996年初版），頁74。 2.〈明史文玉蟾圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁185。 @#@@#@內容簡介（中文）@#@史文，生卒年不詳，字尚質，號再仙，工山水人物，師法梁楷，吳小仙等，形神逼肖。 本幅畫老松一株，松針作車輪狀，枝枒樹根，曲折如鐵，得馬遠真傳。主幹彎曲，石塊以大斧劈皴出之，乃浙派典型畫作。畫中劉海蓬頭赤足，一三足玉蟾戲居其肩，葫蘆貫錢綑綁腰間，筆法蒼勁，線條肯定有力。史文傳世畫作雖不多見，然其為明代浙派之優秀畫家，當可肯定。 @#@@#@內容簡介（中文）@#@史文，字尚質，號再仙。生卒年待考。工山水、人物，畫法源自梁楷（活動於十三世紀前半）、吳偉（一四五九－一五○八）。 本幅畫老松一株，枝椏樹根曲折如鐵；前景石塊則以大斧劈皴出之，筆法至為蒼勁。主角劉海蓬頭赤足，腰繫葫蘆、貫錢，三足之巨蟾踞其肩，神情生動詼諧。史文傳世作品雖不多，但由本幅推斷，應屬明代浙派之優秀畫家。 @#@@#@內容簡介（英文）@#@The Jade Toad Shih Wen Ming Dynasty (1368-1644) Shih Wen excelled at painting landscapes and figures, taking the styles of Liang K’ai (fl. Early 13th c.) and Wu Wei (1459-1508) as his starting point. In this work, an old pine bends in and out of the frame with the power and resilience of steel. The large axe-cut texture strokes of the foreground rock are precise and powerful. The main figure is the Taoist immortal Liu Hai, who appears disheveled and barefoot with a gourd and string of cash tied around his waist. A large, three-legged toad of immortality sits on his shoulder looking out at the viewer with a mirror expression of smugness. Though not many works by Shih Wen survive, this painting shows that he was an exceptional artist of the Che School in the Ming dynasty. @#@@#@內容簡介（英文）@#@The Jade Toad Shih Wen Ming Dynasty (1368-1644) Shih Wen (style name Shang-tz’u; sobriquet Tsai-hsien), the birth and death dates for whom are unknown, excelled at painting landscapes and figures, taking the styles of Liang K’ai (fl. Early 13th c.) and Wu Wei (1459-1508) to capture both spirit and form. This painting includes a single old pine tree, the needles of which have been rendered like the spokes of a cartwheel. The trunk and branches all twist and turn like iron rods much in the tradition of Ma Yuan (fl. late 12th-early 13th c.). The bend in the main trunk and the rocks have been textured using “axe-cut” strokes in the typical Che School manner of the Ming. The legendary figure Liu Hai appears here somewhat disheveled and with a three-legged toad on his shoulder. A gourd and a string of coins are tied around his waist. The brush manner is mature and the lines have the feeling of assuredness and strength. Although not many works survive by Shih Wen, he definitely appears to be an exceptional artist of the Che School.
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