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：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

题跋资料:

题跋类别：作者款识；作者：唐寅；题跋位置：本幅；款识：醉舞狂歌五十年。花中行乐月中眠。漫劳海内传名字。谁信腰间没酒钱。书本自慙称学者。众人疑道是神仙。些须做得工夫处。不损胸前一片天。与西洲别几三十年。偶尔见过。因书鄙作并图请教。病中殊无佳兴。草草见意而已。友生唐寅。；书体：行书；全文： 印记：南京解元、六如居士、吴趋

主题:

主要主题：树木寒林．枯树枯树主要主题：树木椿 主要主题：山水奇石 ；次要主题：人物高士（士人、隐士） ；次要主题：器用文玩（琴棋书画）书；次要主题：器用饮食器 ；次要主题：器用家俱（屏风） ；次要主题：树木棕榈 ；次要主题：树木竹 ；其他主题：建筑茅草屋 ；其他主题：山水  ；其他主题：树木  

技法:

写意 皴法披麻皴人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1125 收藏着录： 故宫书画录（卷五），第三册，页347 收藏着录： 故宫书画图录，第七册，页9-10 参考书目： 1.江兆申，〈唐寅西洲话旧　轴〉，收入国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975年初版，1976年再版，1981年三版），页306 - 307。2.王耀庭，〈明唐寅西洲话旧〉，《故宫文物月刊》，第200期（1999年11月），页54。 内容简介（中文）： 唐寅（西元一四七○－一五二三年），苏州人，字伯虎，又字子畏。性疏朗，狂逸不羁。秉赋灵异，诗、书、文章、绘画无不一臻其妙。 此画按识语当成于病中，细察枯树短枝，及稯叶，皆有战笔，盖病中手颤不能自制也。布景惟有树石矮屋，而参伍错落，大有剪裁，题句云：「醉舞狂歌五十年。」是成画之时，或在五十岁后，在唐已为老境矣，是以洗尽铅华，渐归平澹，而厥趣弥永。 内容简介（中文）： 唐寅（西元一四七○－一五二三年），苏州人，字伯虎，又字子畏。性疏朗，狂逸不羁。秉赋多才，诗、书、文章、绘画无不臻其妙。　此画按款识，当成于病中，细察枯树短枝及棕榈叶，皆有战笔，盖病中手颤不能自制也。布景惟有树石矮屋，而参伍错落，大有剪裁。题句云：「醉舞狂歌五十年。」是成画之时，或在五十岁后，是以洗尽铅华，渐归平淡，而兴味弥永。(20120103) 内容简介（英文）： Tang Yin (style names Bohu, Ziwei), a native of Suzhou, was noted for his expansive and bohemian character. Of unusual talent, he excelled in poetry, calligraphy, and painting. According to the inscription here by the artist, it was done in ill health. Thus, careful examination of the wilted trees, twigs, and palm leaves reveals tremulous brush lines probably resulting from his weakness and inability to control his shaking. The simple composition features only a small hut and some scattered trees with rocks scattered about. A line from his poetry reads, “I have danced drunkenly and sung wildly for 50 years.” Thus, we learn it was done after he was 50. Also, Tang’s style at this time features turning away from opulence and moving to reflective simplicity.(20120103) 内容简介（英文）： “I have been dancing drunkenly and singing wildly for fifty years.” From this line of T’ang Yin’s inscription on the painting we learn that it was done when he was in his fifties. Furthermore, according to the poem inscribed on the painting by the artist himself, it was done when he was in ill health. A careful examination of the wilted trees, twigs, and palm leaves will reveal the tremulous quality of the brush lines, which was due to T’ang’s physical weakness. The simple composition consists only of a small hut and some trees and rocks. T’ang Yin’s painting style during this period of his life is characterized by a turning away from dazzling effects and by a pervading sense of reflective simplicity. T’ang Yin (whose style-names were Po-hu and Tzu-wei) was a native of Soochow, Kiangsu. Noted for his rather bohemian character, T’ang excelled in poetry, calligraphy, and writing as well as painting. 研究性论着： 款题：醉舞狂歌五十年，花中行乐月中眠。漫劳海内传名字，谁信腰间没酒钱。书本自惭称学者，众人疑道是神仙。些许作得功夫处，不损胸前一片天。与西州别几三十年，偶而见过，因书鄙作并图请教。病中殊无佳兴，草草见意而已。友生唐寅。钤印三：吴趋。南京解元。六如居士。唐寅，明成化六年(1470)三月二日生于苏州，是年干支纪年庚寅，生肖属虎，是以取名「寅」，字「伯虎」，又字「子畏」。唐寅少年生活并不中规守矩，历经父没母丧妻亡妹殇，终于认真读书，二十九岁(1497)得南京应天府乡试第一名「解元」。越年赴北京会试，却因为政争牵连，被冤误遭难，取消功名，废黜为吏。因此归回苏州后，以画为生，生活亦浪漫，往往玩世不恭，风月场所，于明嘉靖二年(1523)十二月二日去世，年五十四。唐寅于明代画史上，以诗人之气质，却又有兼具南宋院派画风，早岁从周臣学画，又因文征明曾是好友，苏州文人圈中，又接受了沈周的影响。他于画，山水、花鸟、人物，无所不能。据画上识语，此画已是五十岁(1519)后作，于唐氏已是晚年作品，且是病中所作，气力难免不足，此见于画中枯树细枝及棕叶，出现颤笔。画中右下角，庭石在前，枯树在后，一树斜上，高擎上天，对面茅屋，又是巨石作邻，茅屋中两人，正面者，当是画家本人，背对者是来访者「西洲」，惜受赠人「西洲」为谁，尚不确定。布局以树石矮屋，穿插掩映，颇具匠心，意境恬淡，兴味弥永。（王耀庭）