书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：长宜子孙
收传印记：宗家重贵
收传印记：云间刺史耿继训印
收传印记：式菴珍玩
收传印记：三韩忠敏人家

题跋资料:

题跋类别：作者款识；作者：周臣；题跋位置：本幅；款识：东村周臣；书体：行书；全文： 印记：舜卿、虞山雅人

主题:

主要主题：经史‧故事 甯戚饭牛主要主题：人物高士（士人、隐士）隐士（甯戚）；次要主题：走兽牛 ；其他主题：树木  

技法:

写意 皴法 人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1812 收藏着录： 故宫书画录（卷五），第三册，页339 收藏着录： 故宫书画图录，第六册，页313-314 参考书目： 1.刘芳如，〈明周臣甯戚贩牛图〉，收入国立故宫博物院编辑委员会编，《明中叶人物画四家特展－杜菫、周臣、唐寅、仇英》（台北：国立故宫博物院，2000年初版），页149-150。2.张华芝，〈「天子之宝 — 台北国立故宫博物院的收藏」展品系列(四) — 绘画〉，《故宫文物月刊》，第247期（2003年10月），页36。 内容简介（中文）： 周臣（约1460－1535后），明代画家，字舜卿，别号东村，今江苏苏州人。能诗，擅画山水，得宋人法。兼工人物，古貌奇姿，无论工笔或写意，均能各具意态。 春秋（770 B.C－476B.C）时衞人甯戚，因家贫为人拉车，来到齐国，夜宿城外。时齐桓公郊外迎客，甯戚餵牛于车下，望见桓公而悲，击牛角疾歌。桓公认为此人非平常之人，召见后举为丞相。幅中所绘就是手持树枝的甯戚正在饲牛之景，牛轭置靠在山岩边，暗示牛车在石背后。通幅画家用笔劲利，表现树石质感的皴纹、垂挂的藤蔓，皆为飞动的笔墨线条，带有十五世纪浙派的风致。幅中牛身先略加丝画牛毛，再局部淡墨晕染，和宋人牛画相较，已是文人写意的形貌了。（张华芝） 内容简介（中文）： 周臣（约西元一四五○—一五三五年后），字舜卿，别号东村。吴郡（江苏苏州）人。画山水师陈暹，得宋人法。兼工人物，古貌奇姿、绵密萧散，各极意态。 本幅画春秋时卫人宁戚，借驱赶牛车，与齐国桓公相遇，因而获聘为丞相的故事。幅中树石，皴笔飞动，几近浙派风致。在唐寅、仇英，甚至较早的杜菫作品中，亦不乏类此的泼辣线条，据此，可略见当时不同画派间交互影响的情形。 内容简介（中文）： 周臣（约西元一四五○－一五三五年），江苏吴县人。字舜卿，号东村。山水画学陈暹，得到宋朝人的方法。通常摹仿李唐、郭熙、马远、夏圭，笔法很纯熟。 宁戚是春秋时卫国人。到了齐国，巧遇齐桓公出巡，他一面餵着牛，一面唱着歌，歌词，有着很深的寄讬。齐桓公听了非常感动，就用车将他接了回去，把齐国的政治大权讬付给他。此图写的就是这故事，而把齐桓公问答的情形省略掉了。画笔非常生动，老树悬藤像龙蛟飞舞一般。画很秀雅，没有一点作家气，是周臣的好画。 内容简介（中文）： 周臣（约一四六○－一五三五后），明代画家，字舜卿，别号东村，今江苏苏州人。兼擅画山水，人物，深得宋人笔法，无论工笔或写意，均各有意态。甯戚是春秋时卫国人，因家贫为人拉车。来到齐国时，巧遇齐桓公出巡。甯戚一边餵牛，一边击牛角而歌。桓公认为他非平常之人，召见后举为丞相。本幅所绘就是甯戚手持树枝，正在饲牛之景。通幅用笔劲利，老树悬藤，宛如龙蛟飞舞，异常生动。(20100101) 内容简介（英文）： Zhou Chen (style name Shunqing, sobriquet Dongcun) was native to what is now Suzhou, Jiangsu. He specialized in landscapes and figures, achieving the brush method of earlier Song dynasty painters. Whether in the fine-line or sketching-ideas styles, all have a character of their own. Ning Qi, a native of Wei in the Spring and Autumn period (second half of the 8th c.-first half of the 5th c. BCE), pulled a cart to make a living due to the poverty of his family. In the state of Qi, he one day came across Duke Huan, who was on an inspection tour. Ning Qi was feeding his ox and tapping its horns as he sang. The duke felt this was no ordinary man and summoned him, later making him Counselor-in-chief. The work here shows Ning Qi holding a stick as he feeds the ox. The brushwork is strong and sharp, the vines on the old tree unusually dynamic like the horns of a dragon.(20100101) 内容简介（英文）： Chou Ch’en (style name Shun-ch’ing; sobriquet Tung-tsun) was a native of Wu County, Kiangsu. He modeled his landscapes on those of Ch’en Hsien (1405-1496) and also employed the painting methods of the Sung masters. Chou matured his brush technique by frequently copying the works of such noted artists as Li T’ang (1049-1130), Kuo His (fl. 1190-1224), Ma Yüan (fl. 1195-1224), and Hsia Kuei (fl. 1195-1224. Ning Ch’i (fl. Seventh century B.C.), a native of the state of wei, traveled to the state of Ch’i. There once while he was feeding his ox Duke Huan heard him singing. Thus realizing Ning Ch’i’s worth, the duke gave him a position in the administration of Ch’i. 内容简介（英文）： Chou Ch'en, a native of Soochow, studied landscape painting from Ch'en Hsien, achieving the Sung methods. He also excelled at figures with an archaic yet unusual style that is detailed yet free. This work shows Ning Ch'i (fl. 7th c. BC), a native of Wei, stopping to feed the ox pulling his cart in the state of Ch'i. Duke Huan of Ch'i saw him and realized Ning's worth, making him a Counselor-in-chief at Ch'i. The dynamic texture strokes of the trees and rocks are similar to those of the Che School style. In the works of T'ang Yin and Ch'iu Ying, and even the early ones of Tu Chin, an exceptionally decisive brushwork appears. Thus, it seems exchange and influence took place even among different schools of painting at the time.