书体:

色彩:

水墨

装裱形式:

轴

创作时间:

明代宗景泰一年(1450)

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：曹程之印
收传印记：邺仙

题跋资料:

题跋类别：作者款识；作者：夏昶；题跋位置：本幅；款识：清风高节。东吴夏昶仲昭为太守何公作。时景泰改元（西元一四五○年）春二月望日也。；书体：行书；全文： 印记：东吴夏昶仲昭书画印、古二千石

题跋类别：题跋；作者：疑舫老人；题跋位置：本幅；款识：成化壬辰季夏四月。疑舫老人。；书体：草书；全文：筠州不是清馋守。手吐琅玕落砚池。相见澄江何竹鹤。也从名郡赋归时。底须烟雨三千亩。只可风雷一两枝。江左周郎今老矣。却从高邑县题诗。成化壬辰季夏四月。疑舫老人。

主题:

主要主题：树木竹 ；次要主题：山水奇石 

技法:

写意 皴法 苔点 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1120 收藏着录： 故宫书画录（卷五），第三册，页288 收藏着录： 故宫书画图录，第六册，页65-66 内容简介（中文）： 夏昶（西元一三八八－一四七０年），江苏崑山人。字仲昭，号自在居士，又号玉峰。擅长画墨竹，学自陈继（西元一三七０－一四三四年）、王绂（西元一三六二－一四一六年）。傍石而生的脩竹，随风摇曳，颇有动感。竹干画的挺拔，竹叶则劲健，墨色有着明显的前后浓淡之别。另画石的笔墨极重，显出石的厚实，和竹的飘逸两相对映，意趣无穷。 内容简介（中文）： 夏昶（西元一三八八－一四七○年），江苏崑山人。字仲昭，号自在居士，又号玉峰。明成祖永乐十三年（一四一五）考中进士，官至太常卿。擅长于墨竹，画法学自陈继、王绂。 本幅画奇石修竹，竹干挺拔，竹叶劲健，用笔用墨潇洒出尘，具清妍秀雅之趣。画石则笔墨极重。二者墨色浓淡相映，清浊相形，意趣无穷。 内容简介（中文）： 夏昶，江苏崑山人。生于明洪武二十一年，成化六年卒（一三八八－一四七○）。字仲昭，号自在居士，又号玉峯。以朱姓、登永乐乙未进士，后复姓。入词垣，改中书舍人，正统（一四三六－一四四九）间仕至太常卿。竹石师王绂，早岁类其笔意，其后稍变，时推第一。画竹烟姿雨色，偃直疏浓，各循矩度。诗词清丽，并精楷书。 本幅地上奇石矗立，墨法干湿并用。石后修竹三竿，亭亭玉立，画叶则「个」「介」相叠，浓淡分出前后。似有微风穿过，竹叶将欲翩翩舞动。 内容简介（英文）： Bamboo in the WindHsia Ch’ang (1388-1470)Ming Dynasty Both dry and wet ink have been used to depict the angular rocks that jut up from the ground; from behind the rocks protrude three slender, graceful stalks of bamboo. Alternate clusters of three and four leaves each are executed in varying tones of heavy and light ink. It seems as if a slight wind is blowing through the leaves, making them dance lightly in the air. Hsia Ch’ang (whose style name was Chung-chao and sobriquets were Carefree and Jade Peak) was from K’un-shan in Kiangsu. In his paintings of bamboo and rocks he followed Wang Fu, initially emulating Wang’s style of brushwork but eventually altering it slightly, thereafter becoming known as a first-rate painter. 内容简介（英文）： Bamboo in the WindHsia Ch’ang (1388-1470)Ming Dynasty Hsia Ch’ang (style name Chung-chao; sobriquets Tzu-tsai chü-shih and Yü-feng) was a native of K’un-shan, Kiangsu. In 1415 he passed the examination for the chin-shih civil service degree and ultimately served as Chief Minister of the Court of Imperial Sacrifices. He excelled at depicting bamboo in monochrome ink, the methods for which he learned from Ch’en Chi and Wang Fu (1342-1416). This is a painting of unusual rocks and tall bamboo. The bamboos stand upright with vigorous and robust growths of leaves. The use of brush and ink is pure, ethereal, and unsullied, thus imparting a taste of beauty and elegance. The painting of the rocks was strongly emphasized with brush and ink. The contrast between the light and heavy ink tones of the bamboo and rock can be compared to that of refined versus sullied, thus imbuing a rich meaning to the painting. 内容简介（英文）： Lofty Bamboo in a Pure BreezeHsia Ch’ang (1388-1470)Ming Dynasty Hsia Ch’ang, a native of K’un-shan in Kiangsu Province, excelled at painting bamboo in monochrome ink, which he learned from Ch’en Chi (1370-1434) and Wang Fu (1362-1416). Tall bamboos are shown growing behind a rock as they sway in the breeze, imbuing this work with a sense of grace and movement. The bamboo stalks are painted to show their upright straightness as well as flexibility. The leaves appear robust as the ink tones are clearly distinguished between light and dark. The brushwork in painting the stone is somewhat heavier, giving it a sense of solidity and volume. The contrast between it and the light swaying bamboo gives this work a unique quality revealing Hsia’s specialty in painting bamboo.