书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

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

题跋资料:

题跋类别：作者款识；作者：周臣；题跋位置：本幅；款识：东邨周臣；书体：行书；全文： 印记：东邨、舜卿

主题:

主要主题：山水夏景 主要主题：树木杨柳 ；次要主题：器用服饰（对人）手环、脚环、肚兜；次要主题：人物孩童 ；次要主题：树木芭蕉 ；次要主题：人物高士（士人、隐士） ；其他主题：器用家俱（屏风）床榻；其他主题：树木  

技法:

工笔 写意 皴法 人物衣纹描法(匀称线条) 苔点 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1813 收藏着录： 故宫书画录（卷五），第三册，页340 收藏着录： 故宫书画图录，第六册，页315-316 参考书目： 1.刘芳如，〈明周臣画閒看儿童捉柳花句意〉，收入刘芳如、葛婉章编，《婴戏图》（台北：国立故宫博物院，1990年四月初版），页87-88。2.刘芳如，〈明周臣画閒看儿童捉柳花句意〉，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148-149。 内容简介（中文）： 本幅画柳荫庭院，三名童子于春风中捉花絮，一翁服巾，閒立旁观。画题系出自白居易〈别柳枝〉：「谁能更学孩童戏，寻逐春风捉柳花。」与杨万里的〈閒居初夏午睡起〉：「日常睡起无情思，閒看儿童捉柳花。」 画幅构图采边角式，虽与浙派同样传承自马、夏传统，但却了无浙派刚劲的笔调，处处洋溢着南宋院体绘画抒情的风致。周臣弟子仇英的工笔人物画，殆种源于此。 内容简介（中文）： 周臣（约西元一四五○至一五三五年），字舜卿，号东村。吴（今江苏苏州）人。画山水师陈暹，传其法于宋人，摹李、郭、马、夏，用笔纯熟，尝授画法于康寅。柳下茅堂，群山巃嵷，一翁閒立，看群童捉柳花，柳叶全用汁绿，稍变梅华鼠足点法为之，用笔轻灵之甚。通幅用笔皆轻灵挺劲，惟人物蕉屋，笔意稳健，遂觉澄静而雅矣，是东村佳作。 内容简介（英文）： Chou Ch’en was a native of Kiangsu. In painting landscapes he took Ch’en Hsien (1405-1496) as his teacher. His style developed under the influence of the Sung masters, and he later transmitted his painting style to T’ang Yin. Before the backdrop of a lofty mountain range, a thatched hut lies secluded beneath a bending willow tree. A gentleman leisurely watches children romping happily as they attempt to catch falling willow flowers. The willow leaves are rendered lightly and sensitively in translucent green in variations of the “plum flower” and “rat’s foot” brushstrokes. In the figures, banana leaves, and cottage, the brush work moves steadily and firmly, producing a serene and elegant scene that is certainly one of Chou Ch’en’s most successful works. 内容简介（英文）： Outside a hall in the shade of willows, a scholar watches 3 children trying to catch willow flowers in the spring breeze. The theme derives from Po Chu-i's line, "Who is more at play than children, searching the spring breeze for willow flowers?" and Yang Wan-li's, "I listlessly rise from my nap, idly watching children grasp at willow flowers." The composition here is dominated by the foreground. Like the Che School style, it derives from the Ma Yuan and Hsia Kuei tradition, but without the powerful brushwork. The style here is from the lyrical one of the Southern Sung court. The fine-line figure painting of Chou's student Ch'iu Ying originates with the manner in this painting. 网页展示说明 周臣（约西元一四五０－一五三五年），字舜卿，号东村。吴（今江苏苏州）人。画山水师陈暹，传其法于宋人，摹李、郭、马、夏，用笔纯熟，尝授画法于唐寅。柳下茅堂，群山巃嵷，一翁閒立，看群童捉柳花，柳叶全用汁绿，稍变梅花鼠足点法为之。通幅用笔皆轻灵挺劲，惟人物蕉屋，笔意稳健，遂觉澄静而清雅，是周臣精心佳作。(20120103) 网页展示说明 Zhou Chen (style name Shunqing, sobriquet Dongcun), a native of Wu (modern Suzhou, Jiangsu), studied landscape painting under Chen Xian. Influenced by Song dynasty masters, he copied the styles of Li Cheng, Guo Xi, Ma Yuan, and Xia Gui. Zhou later transmitted his mature style to Tang Yin.In front of lofty mountains lies a thatched hut secluded below a bending willow tree. An old gentleman leisurely watches children romping as they try to catch falling willow flowers. The leaves are in light translucent green with variations of “plum-flower” and “rat-foot” strokes. The brushwork throughout is spirited, in the figures, banana leaves, and cottage moving steadily to produce a serene and elegant scene that makes for one of Zhou’s most successful works. (20120103) 网页展示说明 周臣（1450顷-1535）、字は舜卿、号は东村。呉（现在の江苏省苏州）の人。山水画は陈暹に师事した。李成や郭熙、马远、夏珪などを临模して宋代诸家を学び、用笔は熟练の域に达していた。后に唐寅にその画法を伝授した。 柳の下に茅葺の家屋があり、その向こうに高峻な群山が耸えている。家の前に伫む翁は子供たちが柳の花を拾う様子を眺めている。全て汁绿を用いた柳の叶は、梅花点と鼠足点で変化がつけてある。全体の笔遣いにはしなやかな力强さが感じられるが、人物と芭蕉の叶、家屋の描き方にはしっかりとした落ち着きがあり、静谧さと清雅な趣が漂っている。周臣の丹念な笔遣いが见られる佳作。(20120103)