书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

作者印记：静闲书室
作者印记：文同与可
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：题跋；作者：王直诗塘 ；书体：行书；全文：与可自昔守洋州。墨竹高风称第一。流传三百有馀载。复见兹图更超逸。相当盘礡欲画时。胸藏千亩谁得知。忽如兔起鹰隼落。奇态横出何猗猗。仙人骑凤䌽云里。不见其身见其尾。佪翔千仞欲下来。翽翽馀音满人耳。世间物性各不同。贞脆好丑随化工。惟有此君最幽澹。不与桃杏争春红。由来美人姿。不及君子德。至今淇奥篇。还歌绿如箦。杨君得此求我诗。我今已老才力衰。愿君努力慎爱惜。睿圣衞武诚当师。泰和王直为彦谧宗伯题。印记：行俭、弢菴、（另半印不可辨）

题跋类别：题跋；作者：陈循诗塘 ；书体：楷书；全文：壁上墨君不解语。高节万仞陵首阳。要看凛凛霜前意。冷澹为欢意自长。写真谁是文夫子。许我他年作主无。遥想纳凉清夜永。平安时报故人书。右东坡。 谁画参天铁石柯。凤毛春暖锦婆娑。玉堂妙笔交游尽。六合无尘水绝波。老可当年每画之。满堂宾客动秋思。苍龙过雨影在壁。别出参差玉一枝。右道园。　谁是丹青三昧手。晴窗试写翠琅玕。尚书雅有冰霜操。一枕清风五月寒。我亦有亭深竹里。一枝寒玉澹清晖。道逢黄发惊相问。不改清阴待我归。右松雪。彦谧尚书得此竹求馀题。馀无以为言也。为取宋元苏虞赵三学士诗中之句。各为二绝复之。又何必馀言哉。庐陵陈循德遵志。印记：玉堂学士之章、泰和、汉文范先生裔

主题:

主要主题：树木竹 

技法:

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页61-62 收藏着录： 故宫书画图录，第一册，页265-266 收藏着录： 国宝的形成-书画菁华特展，页72-75、305 参考书目： 1.张华芝，〈宋文同墨竹〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页82-83。2.谭怡令，〈文同墨竹〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页185- 186。3.〈宋文同墨竹图〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页221。4.李霖灿 ，〈文同墨竹的双包案〉，《故宫文物月刊》，第3期（1983年6月），页74-80。5.张华芝，〈宋文同墨竹〉，《故宫文物月刊》，第100期（1991年7月），页77。6.陈孟苹，〈文同「墨竹图」与李衎「四清图」比较研究〉，《议艺份子》，第3期(2000年12月)，页84-101。7.张华芝，〈宋文同墨竹〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页260。 内容简介（中文）： 文同（西元一０一八－一０七九）字与可，四川梓潼人。善画竹，他的好友苏轼为他的竹子写过许多首题画诗。墨竹是文人画中重要的题材之一，而文同正是北宋墨竹的代言人。画中的一枝墨竹，竹叶和竹枝从左上方垂下，再往右方微印而上，寓屈伏中隐有劲拔的生机。此画不但是客观观察与笔墨技巧的呈现，也是士大夫人格与节操的隐喻。画叶的墨色有浓淡的对比，据米芾说也是自文同始。 内容简介（中文）： 文同（1018－1079），字与可，四川梓潼人。善画竹，好友苏轼曾为其写过许多首题画诗。 墨竹是文人画重要的题材之一，而文同正是北宋墨竹的代言人。幅中墨竹一枝，从左上方蜿蜒而下，再往右方微仰向上，寓屈伏中隐有劲拔的生机。不但是客观观察与笔墨技巧的呈现，也是士大夫人格节操的隐喻。画叶以墨色的浓淡来表现正反面，据米芾（1052－1108）说也始自文同。(20061206) 内容简介（英文）： Wen T'ung, who went by the style name Yü-k'o, was a native of Tzu-t'ung in Szechwan. Gifted at painting bamboo, the literary great Su Shih, a friend of his, wrote many poems for the paintings that he did. Bamboo rendered in monochrome ink is an important subject in the literati painting of scholars, and Wen T'ung serves as one of the most representative figures of “ink bamboo” in the Northern Sung. Shown in this painting is a branch of bamboo in monochrome ink that bends into the picture frame from the upper left, curves downwards, and then bends back upwards at the middle right. Residing within the tensile form of this “S”-shape are the forces and dynamics of life itself. Not only is this work a concrete display of the artist's acute sense of observation and consummate control of brush and ink, the bamboo is also an important metaphor for the pliant yet unbreakable integrity of the scholar-gentleman. The variations in darkness of the bamboo leaves reveal their tops and undersides, a technique that according to Mi Fu (1052-1108) originated with Wen T’ung.(20061206) 内容简介（英文）： Wen T'ung was a native of Szechwan who excelled at painting bamboo. His friend Su Shih inscribed many poems on his paintings of bamboo. Ink bamboo is an important subject in scholar painting and Wen T'ung is a representative example from the Northern Sung. Here, a stalk of bamboo done in ink bends down from the upper left and then curve back up to the right, giving movement and grace to the form. Not only has the artist skillfully handled the ink and observed the actual appearance of bamboo, but he also created a metaphor for the grace and resilience of the Chinese scholar. The use of rich contrast in ink tones for bamboo leaves is said by Mi Fu (1051-1107) to have started with Wen T'ung. 网页展示说明 文同（1018－1079），四川梓潼人。字与可。善诗文，工书画。尤善画墨竹，为学者所宗，谓为「湖州派」，对后世墨竹画影响极大。本幅墨画一枝繁叶茂的悬崖倒垂竹，画竹竿用圆浑中锋行笔；竹节采钩笔、留白，上下相扣；画叶之墨色浓淡相依。通幅视之，端谨合矩，却处处潇洒自如、笔笔带生意。文同首创以水墨单色画竹，本幅不仅为其存世墨竹真蹟之代表，亦为北宋文人水墨画代表作之一。(20110913) 网页展示说明 Wen Tong (style name Yuke), a native of Zitong in Sichuan, excelled at poetry and prose while being gifted at calligraphy and painting. He particularly specialized at bamboo painted in monochrome ink. A scholar of wide learning, he founded the “Huzhou School” and had a great influence on later generations of painting bamboo using only ink.This monochrome ink painting depicts bamboo hanging from a cliff and luxuriantly filled with leaves. The bamboo stalk was rendered with rounded brushwork using a centered tip. The knots of the stalk were done with hooked brushwork and an area left blank that hooks together the upper and lower segments. The light and dark ink of the leaves are also painted in a complementary manner. This painting appears at first glance to be solemn and straightforward, but closer observation reveals many places of casual and dashing brushwork that bring the subject and work to life. Wen Tong pioneered the technique of using monochrome ink for depicting bamboo. This painting is not only a rare original representing his surviving work, it is also one of the representative examples of Northern Song literati ink painting.(20110913)