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清石濤寫唐人詩意圖 軸
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- 典藏尺寸本幅@#@89.6x43
- 質地本幅@#@紙
- 題跋資料作者款識@#@石濤@#@本幅@#@行書@#@繪天無似筆飛拋。䥘恠山靈接坳。畫我生寒徹骨。占周半易履初爻。行吟瑩處孤琴在。嚮日流光白髮敲。不問谿橋与茅屋。人間巢許有誰交。和唐人㱕海之作以作画。清湘大滌子極。
- 印記資料收傳印記@#@南海黃君璧藏@#@@#@收傳印記@#@白雲堂@#@@#@收傳印記@#@可盫鑑賞圖書印
- 主題主要主題@#@山水@#@@#@其他主題@#@樹木@#@楊柳@#@@#@其他主題@#@建築@#@橋@#@@#@其他主題@#@山水@#@溪澗、湍泉@#@溪澗@#@@#@其他主題@#@船@#@帆船@#@@#@其他主題@#@建築@#@房舍
- 技法寫意@#@@#@皴法@#@披麻皴@#@@#@苔點
- 參考資料收藏著錄@#@黃君璧先生捐贈文物特展目錄，頁21-22、47@#@@#@參考書目@#@1.林柏亭，〈白雲堂捐贈書畫選介〉，《故宮文物月刊》，第92期（1990年11月），頁127-129。 @#@@#@內容簡介（中文）@#@石濤（西元一六四二－一七０七年），廣西桂林人。本名朱若極，乃明朝宗室之後，明亡後為僧。康熙廿八年（一六八九）奉帝之召，赴北京，返揚州後，繼續雲遊各地，終卒於揚州。 石濤晚年撰「畫語錄」一書，倡我用我法，並楬櫫「畫者從於心」的「一畫」理論。凡畫山水、花卉，均不受古法拘束，極富新意。本幅為黃君璧先生捐贈，殆以濕筆寫山、石、水紋，致令一派淋漓墨韻，洋溢滿紙，可謂充分實踐我用我法之創新理念。@#@@#@內容簡介（英文）@#@Shih-t’ao was a native of Kuei-lin in Kuang-hsi and originally named Chu Juo-chi. As a scion of the Ming imperial family, he became a monk after the fall of the Ming dynasty (1368-1644). In 1689, however, he was summoned for an audience with the K’ang-hsi emperor (r. 1677-1722) and went Peking. After returning to Yangchow, he continued to wander about until his death there. In his later years, Shih-t’ao authored A Discourse on Painting, in which he advocated the idea of “one using one’s [own painting] methods” and established the theory of the “primordial brushstroke” which emerges “from the heart of the painter.” In his paintings of landscapes and flowers, Shih-t’ao was unrestrained by the methods of the ancients as his creativity emerged in his paintings. In this painting donated to the Museum by Mr. Huang Chun-pi, Shih-t’ao used an ink-laden brush to depict mountains, rocks, and water ripples. He conveys to the viewer soaking wet ink which harmoniously spreads throughout the entire painting. One could say that this work is truly imbued with the Shih-t’ao’s creative theory of “one using one’s [own painting] methods.”
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