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Provenance
Acquired in Taipei, 1959
Although undated, it is most likely that the artist painted this composition in the 1540's, judging by the style. It was a period when Wen Zhengming was prolific, his style mature. In this work the picture plane is almost completely composed of competing rock forms, with varietal trees springing from seemingly improbable crevices. A foreground path leads the viewer through the composition to a wash darkened cave, where stalactite-formed rocks hang pendant above the visitors approaching in a small boat. Although the composition is dense, it is very readable, the deftly applied washes in subdued tones giving form and depth to the scene.
The physical location of Longqiu is on Mount Yandang in eastern Zhejiang province. The pool, fed by two waterfalls, is surrounded by cliffs with odd-shaped rock formations. Despite the fact that the site is nearly inaccessible, travellers have made the arduous journey to appreciate the fantastic scenery since at least the Song dynasty, as dated by inscriptions on the cliff face. Traveling to difficult destinations to take in natural wonders has been a longstanding theme of literati culture, and such journeys are intended to be read as an expression of the traveller's unencumbered spirit.
For more on the site and its connection with literati paintings, see: Steven D. Owyoung, "Viewing the Waterfall at Longqiu," Chinese Paintings: The Saint Louis Art Museum Bulletin, The Saint Louis Art Museum: 1985, pp. 20–21
文徵明 龍湫圖 淡設色紙本 立軸
王文治題詩堂
周夢台跋裱邊
詩堂:
明四家中,文畫最易得。贋者無論矣,真而不佳亦無取也。此軸乃衡山致佳之筆,雖染色稍黝,而沉厚古澹之韻,能兼宋元兩代之長。吾友花農於法書名畫另具精鑒,宜其愛翫弗置也。壬子(1792)嘉平幾望,漢陽寓齋王文治記。
款識:
龍湫圖。徵明作。
裱邊跋:
文待詔翰墨當時已極寳貴,而流傳三百年來,似莫與爭長者,以其士氣最勝也。蓋植品卓絕,攄褱冲素,故克臻此。此幅層巒叠嶂,而深厚之氣蓄之有餘。夢樓太守獨具精鑒,不輕許可,而謂為致佳之筆,信然。孫君松泉携以見示,偶為加墨,道光甲午(1834)孟夏二十有五日,書於大願舩叔斗周夢臺。
鈐印:徵明印
(王)王氏禹卿、夢樓
(周)叔斗
來源:
一九五九年購自台北,或自張鼎臣處。
註:龍湫,與靈峰、靈岩被稱為「雁蕩三絕」。位於浙江東部的雁蕩山乃三山五嶽之一,山水奇秀,素有「寰中絕勝」之譽。自古至今,令無數文人墨客傾倒,明代徐霞客在考察雁蕩後讚嘆曰:「欲窮雁蕩之盛,非飛仙畸人不能瞰其肺腑」,歷代吟詠描繪雁蕩——特別是大龍湫——的詩篇與畫作攝人心魄者,多不勝數。
本幅以大龍湫為主題,用近乎滿幅的構圖,寫峰巒高聳,連綿不絕,礬石堆疊,陡峭的岩壁中間,一泓清泉,一葉扁舟,上坐高士三人,望向岸邊,岸上兩位高士,著灰布長衫者正與著暗紅長衫的友人依依話別。岸邊、巖上叢樹茂盛,樹葉與苔點濃淡層次分明,溫雅秀婉之氣息浸透紙背。其筆意、皴染乃至滿幅構圖這一形式,皆可從台北故宮所藏〈千巖競秀〉(作於嘉靖庚戌,1550)、〈松聲一榻圖〉及〈春林策杖〉等晚年佳作中,找到呼應,加上款識書法特徵,推斷〈龍湫圖〉作於相若時期,應不致過謬。有學者認為〈千巖競秀〉在文氏作品中尤其重要,蓋因「文徵明晚年喜作此類繁景細筆之作,對吳派晚期畫風影響甚鉅。」(見《明四大家特展:文徵明》,台北,故宮博物院,2014,頁329)
此外,畫面中景山石造型奇特,筍形石柱林立,似與雁蕩岩洞特徵迥異,雖然徐霞客遊記中有雁蕩山「銳峰疊嶂,左右環向,奇巧百出」、「層崖怪峰,變換闔闢」之描寫,但石筍無疑令人聯想到江蘇宜興的風景勝地張公洞。張公洞因傳說中道教創始人漢代張天師道陵和唐代「八仙」之一張果老相繼在此隱居修行,而得盛名。其為石灰岩洞穴,多鐘乳石和石筍,洞中有洞是顯著特色。文徵明曾到此訪友幽居,其師沈周也有〈遊張公洞記〉和〈遊張公洞圖〉卷傳世,石筍出現在雁蕩,是畫筆的蒙太奇,也是畫家一生「搜盡奇峰」的明證吧!
裱邊題跋者周夢台(?-1899),字叔斗,號柳初。吳江諸生。擅書,有蘇長公筆意。據周氏題跋,此幅乃孫松泉所攜來,孫氏生平資料寥寥,吳江平望人,與嘉興金石考據家、收藏家張廷濟(1768-1848)友善,曾為叔未繪明遺民隱士徐枋(1622-1694)小像。