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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
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：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：子孙永保
收传印记：项墨林鑑赏章
收传印记：檇李
收传印记：寄傲
收传印记：项元汴印
收传印记：子京父印（白文）
收传印记：墨林山人
收传印记：子京父印（朱文）
收传印记：墨林祕玩
收传印记：御题翰墨林

题跋资料:

题跋类别：作者款识；作者：文征明；题跋位置：本幅；款识：清真寒谷秀。幽独野人心。结意青霞珮。传情绿绮琴。征明。；书体：草书；全文： 印记：停云、征明印、悟言室印、征明、玉磬山房

题跋类别：题跋；作者：华夏；题跋位置：本幅；款识：甲辰五月十二日复初题赠；书体：行书；全文：谁是同心友。幽兰在空谷。疎篁更娟娟。閒情寄双玉。曾闻缑岭笙。欲解湘江佩。翛然太史笔。斋居坐相对。甲辰五月十二日复初题赠。印记：华、江湖小隐、明伯

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：壬午春日御题；书体：行书；全文：（乾隆壬午御题。诗文不录。）印记：比德、朗润

主题:

主要主题：树木竹 主要主题：花草兰．蕙兰

技法:

写意 皴法 

参考资料:

收藏着录： 石渠宝笈续编（御书房），第四册，页2001 收藏着录： 故宫书画录（卷五），第三册，页393-394 收藏着录： 故宫书画图录，第七册，页161-162 参考书目： 1.江兆申，〈文征明画兰竹　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313 - 314。2.本社，〈明文征明兰竹图〉，《故宫文物月刊》，第13期（1984年4月），封底 。3.许郭璜，〈明文征明画兰竹〉，《故宫文物月刊》，第106期（1992年1月），页124-131。4.〈明 文征明 画兰竹〉，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132。 内容简介（中文）： 文征明（西元一四七○—一五五九年），江苏长洲人。诗、文、书、画均极擅长，绘画师法沈周，两人同被尊为「吴派」的支柱，对明代中后期的影响，尤其显著。 本幅是以「金粟山藏经纸」来作画，描绘竹石和幽兰的线条，下笔劲健有力，又回旋自如，彷彿书家挥毫一般，全画充满了清逸高雅的文人气息。虽然没有注明年份，但从左上方画家题字的风格来推测，应该是他七十多岁时的作品。 内容简介（中文）： 文征明（西元一四七○－一五五九年），江苏长洲人。初名壁，字征明，后以字行。更字征仲，号停云生、衡山居士。画师沈周（一四二七－一五○九），诗文书画均佳，为明中叶四大家之一，对明末画坛影响甚钜。 本幅以藏经纸画竹石幽兰，兰与石皆学赵孟頫，笔墨酣畅，诚属得意之作。未识年份，但款字书风与丁未年（一五四七）作之「一川图」、「江南春图」近似，推断应成于此际，时征明七十八岁。 内容简介（中文）： 文征明（1470-1559），江苏长洲人。诗文书画均擅长，画师沈周，两者对明代中后期画坛影响显著。绘兰竹丛生，叶长如带，弯垂下折。湖石承袭赵孟頫（1254-1322），下笔劲健有力，回旋自如。没骨绘写盛放兰花花冠、花舌，浓墨点写花蕾。旁衬墨竹两竿，「人」字型竹叶交错，能兼顾转折面。构图表现风中之兰竹，描绘精妙，颇有情境。全图诗画、款印之布局安排缜密严谨，自题诗首句描写兰竹幽雅秀丽之姿，末二句则表达以画赠知己。(20110102) 内容简介（英文）： Wen Zhengming, a native of Changzhou in Jiangsu, excelled at poetry, painting, and calligraphy. In painting, he studied under Shen Zhou (1427-1509), the two of them becoming influential leaders in painting during the middle and late Ming dynasty.In this painting of a cluster of orchids and bamboo, the orchid leaves grow long and ribbon-like as they curve and droop downwards. The style of the rocks follows in the manner of Zhao Mengfu (1254-1322), the application of the brush strong and forceful, but also turning with ease. The “boneless” method of painting in washes portrays the corolla and ray of the orchids in full blossom, and dark ink renders the buds. To the side are two stalks of bamboo in ink with crisscrossing leaves in the shape of the Chinese character “ren” (人) as the artist paid particular attention to the sides. The whole work, including the arrangement of poetry and seal impressions, is deliberate and exacting. The first line of the artist’s own poem describes the elegantly beautiful poses of the orchid and bamboo, while the last two lines express the intimacy of the painting.(20110102) 内容简介（英文）： Wen Cheng-ming (original name Pi, later style name Cheng-chung, and sobriquets T’ing-yün-sheng and Heng-shan chü-shih) was a native of Ch’ang-chou, Kiangsu. In painting, he followed after Shen Chou (1427-1509), but he also excelled at calligraphy, poetry, and prose. He became knownas one of the Four Great Masters of the middle Ming and he had an enormous influence on the art field in the late Ming. This painting of bamboo, rocks, and orchids was done on special “sutra” paper. The rendering of the orchids and stones reflects the study of the style of Chao Meng-fu (1254-1322). The brushwork is flowing and fluent and done in an easy and confident manner. Although this painting is not dated, the style of inscription is calligraphically similar those on View from the Riverside and Spring in Kiangnan, which were done in 1547. Thus, this painting may have been completed at around this time. 内容简介（英文）： Wen Cheng-ming, a native of Soochow, excelled at the arts of poetry, writing, calligraphy, and painting. His style followed that of Shen Chou(1427-1509), and both have been praised as the pillars of the "Wu School", having a profound influence on on middle and late Ming art circles. This work was done on "Mt. Chin-shu sutra paper". It depicts rocks and bamboo along with orchids done in lines of brushwork that are powerful yet natural, much like those of a calligrapher. The work is filled with the lofty and elegant style of the scholar. Although this work is undated, the style of Wen Cheng-ming's calligraphy inscribed in the upper right appears to have been done sometime after the age of 70.