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：唐寅为静昭画；书体：行书；全文： 印记：六如居士、南京解元

主题:

主要主题：花草芙蓉 ；次要主题：花草芦苇 ；其他主题：山水江河、湖海 

技法:

写意 皴法 皴法斧劈皴

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1126 收藏着录： 故宫书画录（卷五），第三册，页392 收藏着录： 故宫书画图录，第七册，页23-24 参考书目： 1.江兆申，〈唐寅临水芙蓉　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。2.〈明　唐寅　临水芙蓉〉，收入谭怡令、刘芳如、林莉娜主编，《满庭芳　历代花卉名品特展》（台北：国立故宫博物院，2010年十二月初版一刷），页156。 内容简介（中文）： 唐寅（西元一四七０－一五二三年）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、绘事无一不臻其妙。寅善书，其法出入赵孟頫、颜眞卿、李邕诸大家间。尤善画，学周臣、沈周，又自师古人，而才气蒸腾，遂至睥睨当代，与宋元诸大家并立而无愧色。擧凡山水、人物、士女、楼观、花鸟，无不精绝。本幅画芙蓉一朵，叶数枚，下临水石，笔墨至简，而表现出一股清雅之气。画约成于唐寅五十岁左右。 内容简介（中文）： 唐寅（1470-1523），字伯虎，江苏吴县人。他在书、画、诗文各方面，均有过人的才具，而且个性疏放不羁，是明代中期苏州地区，极具知名度的文人兼职业画家。本幅以水墨写意法，画秋天的溪石间，一株含苞的木芙蓉，嫋嫋下垂，宛若美人临水自照，波光花影，相映益显窈窕。全画的构景简洁，笔致劲锐，展现出一派文人潇洒、清雅之气。右上方自题是为好友静昭所作，由风格判断，约完成于唐寅五十岁前后。(20110102) 内容简介（英文）： Tang Yin (style name Bohu) was a native of Wuxian in Jiangsu. His talent in calligraphy, painting, and poetry surpassed that of many others, but he was also a loose and unbridled character. He was both a famous literati and professional painter in the Suzhou area during the middle Ming dynasty.This work, done in the “sketching ideas” method using only monochrome ink, depicts a stream bank in autumn with a stalk of cotton rose hibiscus in bud and blossom extending into the composition from the side and gently drooping downwards. Like a beautiful lady looking at herself in the water, waves and blossoms contrast with each other in a gentle and graceful manner. The composition as a whole is succinct and the brushwork quite strong and sharp, exuding an aura of literati pure elegance and natural unrestraint. The artist’s inscription in the upper right indicates it was done for his friend Jingzhao. Judging from the style, it was probably painted by Tang Yin around the age of 50.(20110102) 内容简介（英文）： T’ang Yin (tzu Po-hu, Tzu-wei) was a native of Suchou, Kiangsu. By nature distant and rustic he lived without restrictions. Often he and his close companion Chang Ling would play games and drink wine rather than concentrate on their work. However, T’ang Yin was brilliant and excelled in poetry and prose as well as in calligraphy and painting. He took first place in the provincial examination in 1498 and thereupon had carved a seal which read “First in Nanking”. This and another of his seals which read “First with Ladies in Kiangnan” seem to reflect two aspects of his character. After he was slandered during the national examinations, he turned to Buddhism, residing in the Peach Blossom Studio and calling himself Liu-ju-chü-shih. A skilled calligrapher and painter, T’ang modelled himself on earlier masters: in calligraphy he followed Chao Meng-fu, Li Yung and Yen Chen-ching; in painting Chou Ch’en, Shen Chou as well as the Sung and Yüan masters. His talent was so great that it was said he surpassed contemporary masters and equaled the talent of the ancients. He painted in a variety of genres including landscape, figure, architecture and bird-and-flower painting and achieved distinction in all. The simplicity of the composition, a single hibiscus, a few leafy twigs, a stream and a rock is reaffirmed in the brushwork. The painting is thus imbued with a sense of grace and elegance.