书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

收传印记：岳军鑑藏画画

题跋资料:

题跋类别：题跋；作者：朱耷；题跋位置：本幅；款识：无；书体：行书；全文：不学杨枝别乐天。且同通德伴伶玄。阿奴络秀不同老。天女维摩总解禅。经卷药罏新活计。舞衫歌扇旧因缘。丹成逐我三山去。不作巫阳云雨僊。东坡居士读乐天诗。寤歌草堂八大山人书。印记：八大山人、何园、十得、真赏

主题:

主要主题：人物高士（士人、隐士）士人（苏轼）主要主题：人物仕女仕女（王朝云）；次要主题：树木梧桐 ；其他主题：器用扇 ；其他主题：器用文房用具 ；其他主题：器用家俱（屏风）桌、脚踏、椅；其他主题：树木  ；其他主题：树木竹 

技法:

写意 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 张岳军先生王雪艇先生罗志希夫人捐赠书画特展图录，页7、222 内容简介（中文）： 朱耷（西元一六二六—一七○五年），江西人。明宗室，甲申后为僧，号八大山人，又号雪个、人屋。能诗工书，擅山水、花鸟、竹石，笔意纵恣，不泥成法。所题「八大山人」四字，多联缀成似「哭之」或「笑之」，盖别有用意。与弘仁、石谿、石涛俗称「四僧」。设色绘东坡做桐荫，目视朝云作书。按：朝云姓王，为钱塘名妓。苏轼官钱塘时，纳为常侍。初不识字，事轼后始学书，后轼贬惠州，家奴皆散去，独朝云相依。本幅为罗志希夫人捐赠。 内容简介（中文）： 朱耷（1626－1705），江西人。明宗室，甲申后为僧，号八大山人，又号雪个、人屋。能诗工书，擅山水、花鸟、竹石，笔意纵恣，不泥成法；与弘仁、石谿、石涛俗称「四僧」。 此幅画的是庭园一角，梧桐二株，苏东坡手持团扇，坐在太师椅上，身体斜靠桌案，双目注视着身躯微屈提笔书写的朝云。苏轼官钱塘时，纳钱塘名妓－朝云为常侍。初不识字，事轼后始学书，后轼贬惠州，家奴皆散去，独朝云相依。 张群先生捐赠于民国67年。(20110204) 内容简介（中文）： 大千摹古虽无所不学，其对各家笔法的来龙去脉，却仍以董其昌的「南北宗论」为依归。本幅作于1948年，自言因见南宋高克明（活动于十至十一世纪）〈溪山雪意图〉（美国纽约大都会博物馆藏），而领悟沈周（1427-1509）与唐寅（1470-1524）笔法之所出。其章法略以唐寅〈山路松声〉为本，变山石为节理分明的块体。山顶缀密林，并以斧劈皴刻划，若合南宋人画意。前景老树为李郭派画法，崖壁间的夹叶树则大青大碧，绿波朱簷，则又结合金碧山水的用色，可谓是融会「北宗」风格系统的精彩作品。 内容简介（英文）： Zhu Da, a native of Jiangxi, was a scion of the Ming dynasty imperial family. After the fall of the Ming, he took the tonsure and became a monk, adopting the sobriquet Bada shanren as well as Xuege and Renwu. He excelled at landscape, bird-and-flower, and bamboo-and-stone painting, his brushwork free and easy without the restraints of conventional methods. Along with Hongren, Shixi (Kuncan), and Shitao, he is commonly referred to as one of the “Four Monk-Painters” of the late Ming and early Qing. This painting depicts the corner of a garden with two paulownia trees and the great Northern Song poet-calligrapher and official Su Shi (Dongpo) sitting with a round fan in a chair as he leans on a table, his eyes fixed on Chaoyun, who leans over with brush to write. When Su Dongpo was an official in Qiantang, he took in Chaoyun, a famous courtesan there, as his attendant. Though illiterate at first, Chaoyun in Su’s service began to learn calligraphy. Later when Su was banished even further to Huizhou, all his servants left him, except for Chaoyun.Mr. Chang Chun donated this work to the National Palace Museum in 1978.(20110204) 内容简介（英文）： Chu Ta,a scion of the Ming dynasty royal family, was a native of Kiangsi province. With the fall of the Ming dynasty in 1644, he became a monk and took the sobriquets Pa-ta shan-jen, Hsüeh-ko, and Jen-wu. He was skilled at composing poetry and writing calligraphy, and he especially excelled in painting landscapes, birds and flowers, and bamboo and rocks. He gave full vent to the expressiveness of his brush and was not constrained by rules. He wrote his signature, “Pa-ta shan-jen,” in such a way that at the same time it looks like the characters “to laugh” and “to cry.” Chu Ta is considered one of the Four Monk painters of the late Ming-early Ch’ing along with Hung-jen, K’un-ts’an, and Shih-t’ao.In this painting, Su Tung-p’o, sitting in the shade of a paulownia tree, looks at Ch’ao-yün as she writes. Ch’ao-yün, surnamed Wang, was a famous courtesan from Hangchou. When Su Tung-p’o was an official in Hangchou, Ch’ao-yün of-ten served him. At first, she was illiterate, but after she served him for a while, she began to study. When Su Tung-p’o returned to Hui-chou, all his servants left him except for Ch’ao-yün.This painting was donated by Madame Lo Chih-hsi.