书体:

色彩:

水墨

装裱形式:

轴

创作时间:

明宪宗成化十五年（1479）

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：御书房鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：严泽之印
收传印记：严氏道普
收传印记：有明文靖世家图书
收传印记：杨氏珍藏

题跋资料:

题跋类别：作者款识；作者：沈周；题跋位置：本幅；款识：献之刘先生。辽阳材士。来吴。予与识于姑苏台。因写参天特秀图。侑诗赠之。己亥（西元一四七九年）沈周；书体：行书；全文：我闻东海毉巫闾。山中有树青瑶株。参天直上有奇气。文章满身云雾俱。无双自以国士许。况是昔时称大夫。人间草木各适用。大材必待明堂须。呜呼。大材必待明堂须。不与榱桷论区区。献之刘先生。辽阳材士。来吴。予与识于姑苏台。因写参天特秀图。侑诗赠之。己亥（西元一四七九年）沈周。印记：启南、石田

题跋类别：作者款识；作者：沈周；题跋位置：本幅；款识：长洲沈周重题；书体：行书；全文：予作是障子于己亥。迨今乙巳（西元一四八五年）。凡七寒暑。盖以松为材木。以其材拟献之之材也。献之谦不自拟。而转赠陈君凤翔。凤翔常熟才士。为士林之乔木。则予之诵于松者。前言尽之已。兹不复赘。长至日。长洲沈周重题。印记：启南

主题:

主要主题：树木松 

技法:

写意 苔点 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1141 收藏着录： 故宫书画录（卷八），第四册，页77 收藏着录： 故宫书画图录，第六册，页195-196 参考书目： 1.江兆申，〈沈周参天特秀　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296。 内容简介（中文）： 辽阳刘献之来吴，与沈周相识于姑苏台，周因写此幅赠之。献之材士，而松亦具凌云之高，盖以松喻人也。画此时为己亥（一四七九）周年五十三岁。后七年乙巳（一四八五）刘献之以此幅转赠陈凤翔，陈又持来求沈周为之重题。后题周年五十九岁。五十三岁之题，笔力犹弱，与五十岁林逋手札二帖题句极接近。其中「我」字「有」字两帧俱有，用笔结体，几于雷同。五十九岁之题，则笔力远为老练。画笔始于此时由雅秀渐趋粗劲。 内容简介（中文）： 沈周（西元一四二七－一五○九年），江苏长洲人。字启南，号石田，又号白石翁。为人宽厚，能诗文，工书法，又善山水，并兼工花卉、翎毛。 辽阳刘献之来吴，与沈周相识于姑苏台，沈周因写此幅赠之。献之为材士，而松亦具凌云之意，盖以松喻人。本幅为沈周五十三岁所作，画笔于此时已由早期之雅秀渐转为粗劲。 内容简介（英文）： Shen Chou (1427-1509), a native of Soochow, was magnanimous by nature and a gifted poet, writer, calligrapher, and painter. Although best known for his landscapes, he was equally talented at depicting flowers, fruit, and birds in monochrome ink. When Liu Hsien-chih of Liao-yang came to Wu County, he met Shen Chou at Ku-su-t’ai, and Shen painted this work for him accordingly. Liu was an able man, and the pine tree here also embodies the similar characteristics of a man with lofty ideals; Shen thus utilized the pine tree as a metaphor for Liu. This painting was done when Shen was 52, and his brushwork has already become thick and forceful, a gradual shift from the elegant brushstrokes of his earlier years. 内容简介（英文）： When Liu Hsien-chih of Liao-yang came to Suchou, he and Shen Chou met at Ku-su-t’ai (on Mt. Ku-su near Suchou). Therefore Shen Chou painted this scroll as a gift for Liu. Liu was a scholar of outstanding qualities, just as the pine stretches upward toward the clouds, passing out of the painting. Shen Chou thus draws an analogy between the pine and the man. When he did this painting in 1479, Shen Chou was 52 years old. Six years later, in 1485, Liu Hsien-chih gave it to Ch’en Feng-hsiang, who asked Shen to inscribe the painting again. The later inscription was written when he was 58 years old. The earlier colophon is rather weak and is very similar to the inscription on Lin P’u’s calligraphy written three years earlier. The characters 我and 有are particularly close in composition and technique. The 1485 inscription, on the other hand, shows maturity and experience. The period of this painting, around 1480, marks the beginning of Shen Ch’ou’s prime as a painter.