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本幅纸引首纸拖尾纸释文:
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鑑藏宝玺:五福五代堂古稀天子宝题跋资料:
题跋类别:作者款识;作者:唐寅;题跋位置:本幅;款识:晋昌唐寅写;书体:行楷书;全文: 印记:南京解元主题:
主要主题:山水 ;次要主题:建筑房舍 ;其他主题:建筑篱笆、围墙围墙;其他主题:人物侍从(侍女、童仆)侍从、童仆;其他主题:船帆船 ;其他主题:建筑寺庙 ;其他主题:山水瀑布 ;其他主题:建筑桥 ;其他主题:人物高士(士人、隐士)高士(士人);其他主题:山水江河、湖海江河;其他主题:树木松 ;其他主题:器用家俱(屏风)屏风、榻、几;其他主题:树木竹 ;其他主题:树木 ;其他主题:建筑斋馆技法:
皴法斧劈皴人物衣纹描法(匀称线条) 苔点参考资料:
收藏着录: 故宫书画录(卷八),第四册,页41 收藏着录: 故宫书画图录,第十八册,页315-320 参考书目: 1.江兆申,〈唐寅山水真蹟 卷〉,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300。 内容简介(中文): 王穉登吴郡丹青志沈周传云:「一时名士如唐寅文壁之流,咸出龙门,往往致于风云之表」。唐寅从沈周学画,因世间流传唐画皆作周臣面目,故往往略其从沈之事。此卷山树人物屋宇,在画法上大抵皆似沈周,而密栗齐整,又类周臣之学刘李。故此帧制作,当在初去沈周始学周臣之际,盖三十岁时所作。画经王穉登收藏,后穉登以贺武进县令徐明宇生子,清初,经安歧收藏。 内容简介(中文): 唐寅(西元一四七○年至一五二三年),江苏吴县人,字子畏,又字伯虎,号六如,赋性疏朗,狂逸不羁。弘治戊午举南京解元,后牵连京试贿赂案,被谪为吏,从此绝意宦途,一心穷研诗、画、书法。 唐寅尝从沈周学画,然以世间流传唐画多作周臣面目,故往往略其从沈之事。此卷山树人物屋宇,在画法上大抵皆似沈周,而密栗齐整,又类周臣之学刘(松年)李(唐)。故此帧制作,当在初去沈周始学周臣之际,盖三十岁时所作。 内容简介(英文): T’ang Yin at one time studied under Shen Chou (1427-1509),but many of his extant works show the stylistic qualities of Chou Ch’en (fl. 1450-1535); thus is often neglected the fact of Shen’s mentorship. In this painting, the handling of mountains, trees, human figures and houses resembles Shen’s brushwork, while the meticulous treatment of the painting in general shows similarity to Chou Ch’en who styled himself after Liu Sung-nien and Li T’ang of the Sung dynasty. This painting was probably done when T’ang Yin was about thirty years old when he left Shen Chou and started to learn the style of Chou Ch’en, whom he eventually surpassed. T’ang Yin, a native of Wu, Kiangsu, had style names Tzu-wei and Po-hu and sobriquet Liu-ju. Bohemian by nature, he abandoned officialdom after an involvement in a bribery case in a chin-shih examination. Thereafter he devoted himself to poetry, painting and calligraphy. He is included as one of the four Masters of the Ming dynasty. 内容简介(英文): Wang Chih-teng’s Wu-pu tan-ch’ing characterized Shen Chou’s impact on the younger generation: “All of the famous scholars of the time, like T’ang Yin and Wen Pei (wen Cheng-ming), went to the dragon’s door (i.e., came under the influence of Shen Chou); they are often seen among the wind and clouds.” T’ang Yin had studied painting with Shen Chou, but because his relationship with Chou Ch’en is usually stressed, the fact of his early closeness with Shen is frequently ignored. In this handscroll the treatment of the Mountains, trees, figures, and architecture is all based on Shen Chou, while the dense textures and careful arrangements are derived from Chou Ch’en’s teachings. Thus it was probably painted soon after T’ang Yin left Shen Chou to study with Chou Ch’en, i.e. when he was around 30 years old. It passed through the collection of Wang Chih-teng, who gave it as a congratulatory gift when Hsü Ming-yü of Wu-chin-hsien had a son. It was in the collection of An Ch’i during the 18th century.