书体:

色彩:

设色,青绿

装裱形式:

卷

创作时间:

明世宗嘉靖二十七年（1548）

文字类型:

质地:

本幅绢隔水一绫拖尾纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：宣统御览之宝
收传印记：王掞私印
收传印记：西田玩珍
收传印记：王颛菴书画记
收传印记：王掞印
收传印记：颛菴
收传印记：萝月轩主人
收传印记：黄海程邃穆倩氏图书
收传印记：陈元璞（重一）
收传印记：润父
收传印记：朱彝尊印
收传印记：竹垞真赏
收传印记：沈岸登印
收传印记：襄绪
收传印记：毕沅审定（重一）
收传印记：秋颿珍赏（重一）
收传印记：毕沅宝藏
收传印记：毕秋颿书书记
收传印记：灵巖山人祕笈之印
收传印记：复园珍赏
收传印记：毕泷鑑赏

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：嘉靖戊申（西元一五四八年）七月既望征明制；书体：行书；全文： 印记：征明、征仲父印

题跋类别：题跋；作者：文嘉拖尾壬申九月。仲子嘉敬题。；书体：行书；全文：后赤壁图。乃宋时画院中题。故赵伯骕伯驹皆常写。而予皆及见之。若吴中所藏。则伯骕本也。后有当道。欲取以献时宰。而主人吝与。先待诏语之曰。岂可以此贾祸。吾当为重写。或能存其髣髴。因为此卷。庶几焕若神明。复还旧观。岂特优孟之为孙叔敖而已哉。壬申九月。仲子嘉敬题。印记：肇锡馀以嘉名、文休承氏

题跋类别：题跋；作者：王穉登拖尾太原王穉登题；书体：行书；全文：严相得幸肃皇帝。子世蕃诛求图籍法书名画之在江南者。大半皆为攫去。后既败。悉输尚方。仅留海天落照。清明上河图等数种。馀充武弁俸钱。流落人间者。往往得见之。惟赵伯骕后赤壁卷。杳然不闻。不知浮沉谁手。观文太史此作。清茂苍雅。力追古人。当与赵氏并驱争先者也。太原王穉登题。印记：王穉登印、王氏百谷

题跋类别：题跋；作者：曹溶拖尾檇李曹溶题；书体：行书；全文：东坡当宣政时。化去未久。而赤壁二赋。已为人所图写。其名重天下如此。然画院诸人。仅能得其彷彿。若平生忠义之心。文章之气。非有学有识者。莫能传也。衡山待诏。为有明绘事家第一手。又写意中所企慕之人。宜其毕智尽能。追千里辈而上之矣。檇李曹溶题。印记：曹溶私印、洁躬

题跋类别：题跋；作者：程邃拖尾 ；书体：行书；全文：玄黓困敦毕穴爿西之月。既望二日。黄海程邃垢区。檇李朱彝尊锡鬯。沈岸登覃九。同观于谭木禾芜城客舍。邃记。印记：程邃、穆倩

题跋类别：题跋；作者：张埙拖尾记珠轩主人埙题名；书体：行书；全文：乾隆己亥谷雨日。江宁严长明道甫。张复纯止原。无锡王相英淙云。太仓毕泷竹屿。吴县张埙湖庄。同观。记珠轩主人埙题名。印记：记珠墨妙

主题:

主要主题：山水秋景 主要主题：经史‧故事 故事（后赤壁赋）；次要主题：建筑房舍 ；次要主题：人物侍从（侍女、童仆）童仆；次要主题：树木柏 ；次要主题：人物高士（士人、隐士）高士；次要主题：树木松 ；次要主题：山水云 ；其他主题：树木枫树．槭树 ；其他主题：人物仕女 ；其他主题：山水夜景（月景）夜景；其他主题：花草芦苇 ；其他主题：山水江河、湖海江河；其他主题：翎毛雁 ；其他主题：山水石磴、栈道石磴；其他主题：人物渔夫、船夫 ；其他主题：船  ；其他主题：花草藤萝 ；其他主题：山水瀑布 ；其他主题：走兽马 ；其他主题：花草菊 ；其他主题：建筑篱笆、围墙 ；其他主题：树木寒林．枯树 ；其他主题：花草  ；其他主题：建筑桥 ；其他主题：山水溪涧、湍泉湍泉；其他主题：人物圉人 ；其他主题：器用耕织渔猎渔；其他主题：树木竹 ；其他主题：翎毛鹤 

技法:

工笔 写意 皴法披麻皴人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1904-1905 收藏着录： 故宫书画录（卷四），第二册，页193-194 收藏着录： 故宫书画图录，第十九册，页91-96 参考书目： 1.王耀廷，〈明文征明仿赵伯骕后赤壁图〉，收入国立故宫博物院编辑委员会编，《文学名着与美术特展》（台北：国立故宫博物院，2001年初版），页135-136。2.〈明文征明仿赵伯骕后赤壁赋图〉，收入国立故宫博物院编辑委员会编，《赤壁赋书画特展》（台北：国立故宫博物院，1984年初版），页37-39。3.江兆申，〈文征明仿赵伯骕后赤壁图　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314。4.衣若芬，〈战火与清游：赤壁图题咏论析〉，《故宫学术季刊》，第十八卷第四期（2001年夏），页63-102。 内容简介（中文）： 本卷画于西元一五四八年，因为苏州有人收藏赵伯骕（后赤壁图），官吏索取献给严嵩之子世蕃，而主人不愿给，文征明劝主人不要因此惹祸，就为他画了这一卷。画题说是仿自赵伯驹，然而画中色调的处理，青绿的铺陈，浓而不腻，已然是元代以后文人青绿山水的画法。山石的结构与堆叠，也非拘泥于装饰性的几何状，尤其是树干树枝，如松柏的纠曲，点叶繁密浓重，由笔法看来，全是文征明自己的本色。 内容简介（中文）： 文征明（西元一四七○至一五五九年），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，书画双绝，为明四大家之一。因其享年甚高，故传世画蹟颇多。 此图作于嘉靖戊申（一五四八），时征明七十九岁。据文嘉跋：吴中士人家藏有赵伯骕后赤壁图，吏员欲取之以献时宰严嵩之子世蕃，而主人吝与。征明语之曰：「岂可以此物贾祸，吾当为之重写，或能存其髣髴。」因为是卷。 内容简介（中文）： 戊申（一五四八）七月既望，仿宋赵伯骕后赤壁赋卷。据仲子文嘉跋：先是吴中士人家藏有赵伯骕后赤壁图，吏员欲取之以献时宰严嵩之子世蕃，而主人吝与。征明语之曰：「岂可以此物贾祸，吾当为之重写，或能存其髣髴」。因为是卷。细审文嘉跋甚好，语当可靠。又有赤壁赋图卷，章法与此略同，而笔墨视此较为精警。戊申、征明七十九岁。 内容简介（中文）： 文征明（1470-1559）初名壁，字征明，后以字行，为十六世纪吴派最具影响力的画家。本卷以苏轼〈后赤壁赋〉为其文本，分为八段，描绘苏轼与二友人携酒与鱼复游赤壁。全幅浅青绿设色，虽说仿自赵伯驹，然颜料下透露出线条与用笔，显得透明而有层次感，较接近元赵孟頫之文人青绿传统。画中人物线条简朴，山石则堆叠紧凑而富变化，展现文人面对奇景之安闲雅兴。画上纪年嘉靖戊申（1548），文氏时年七十九岁，为其晚年力作。卷后有文征明之子文嘉（1501-1583）叙述此画之来由：「〈后赤壁赋图〉乃宋时画院中题，故赵伯骕（约活动1123-1182）、赵伯驹（1118或1120-1162）皆常写，而予皆及见之。若吴中所藏则伯骕本也。后有当道欲取以献时宰(严嵩)之子，而主人吝与，先待诏语之曰：『岂可以之贾祸，吾当为重写，或能存其髣彿』，因为此卷。庶几焕若神明，复还旧观，岂特优孟之为孙叔敖而已哉，壬申（1572）九月仲子嘉敬题」。 内容简介（英文）： Wen Cheng-ming was a native of Ch’ang-chou (modern Soochow, Kiangsu). Although his given name was Pi, he is best known by his style name Cheng-ming. His other style name was Cheng-chung and his sobriquets include: T’ing-yun-sheng and Hung-shan chu-shih. Wen is considered one of the most influential painters of the Wu School, which developed in Soochow during the Ming Dynasty. When he was fifty-four years old, he was sent to the capital by the local government to serve as a member of the Hanlin Academy. There, he participated in the compilation of the Veritable Records of Wu-chung. Later, he became bored with life in the capital and returned to his old home, where he devoted himself to artistic endeavors. This painting depicts a mountain dwelling in the middle of a bamboo grove. A boat is anchored to a river bank dotted with flowering reeds. On the boat, a woman strums a lute. In the background, the artist has painted autumn trees. This scroll illustrates Pai Chu-yi’s famous poem, “The Lute Song.” This lonely scene is convincingly rendered with the mature brushwork of Wen Cheng-ming’s later years. 内容简介（英文）： Wen Cheng-ming was a native of Ch’ang-chou, Kiangsu. Originally Wen Cheng-ming’s given name was Pi and his style name was Cheng-ming. Later he was known by his style name. Yet another style name was Cheng-chung; his sobriquets were T’ing-yün-sheng and Heng-shan Chü-shih. Excelling in calligraphy and noted for his paintings, Wen was one of the Four Masters of the Ming dynasty. Because he lived to a ripe old age, he left behind many paintings which came down to present time. This painting was executed in 1548 when Wen Cheng-ming was seventy-eight years old. His son, Wen Chia, wrote a colophon, accounting for the making of this picture. A man of gentry had in his possession Chao Po-su’s Poetic Sentiment of the Latter Ode on Red Cliff. A local official wanted to get this painting in order to present it to Yen Shih-fan, son of the prime minister Yen Sung. The owner grudged parting with it. Thereby Wen Cheng-ming said to him, “Why should you incur disaster because of this possession? I will make a copy of it so that some vestige of it might remain with you.” 内容简介（英文）： This handscroll was done in 1548. At around that time, a collector in Soochow had Chao Po-su's “Latter Ode on the Red Cliff” in his possession. When an official wanted to present it to the son of the Grand Secretary Yen Sung (1480-1565), the owner refused. Wen Cheng-ming thereupon urged the owner not to anger such a prominent person, and so painted this copy for him as a substitute. The inscription says it is a copy after Chao Po-su (1124-1182), but the light blue-and-green coloring reveals the literati landscape tradition after the Yuan artist Chao Meng-fu (1254-1322). The landscape elements also do not appear as geometric shapes and patterns. In particular, the branches of the pines and cedars are done with dense brushwork that is completely in Wen Cheng-ming's own style. 网页展示说明 文征明（1470–1559），江苏长洲（今苏州）人。画师承沈周，上溯元人，为明四家之一。此图作于嘉靖戊申（1548）年，以苏轼〈后赤壁赋〉为文本，全幅浅青绿设色，接近元赵孟頫文人青绿传统，然山石的结构与堆叠，树枝点叶的笔法，已是文征明本色。文嘉于卷后跋语谓吴中文士家藏赵伯骕原作，当道者欲取之献于权相严嵩子，征明劝友人勿吝予而贾祸，因仿作此卷以慰之。(20120714) 网页展示说明 Wen Zhengming, a native of Changzhou (modern Suzhou), learned painting from Shen Zhou, tracing his style back to the Yuan dynasty and becoming one of the Four Ming Masters. This work from 1548 is based on Su Shi's "Latter Ode on the Red Cliff." It is done in light blue-and-green, similar to the literati blue-and-green mode of the Yuan artist Zhao Mengfu, while the structure and piling of mountains and tree branches and leaves reveal Wen's own style. Wen Jia's colophon at the end says the original by Zhao Bosu belonged to a Suzhou scholar. An official wanted it for Grand Secretary Yan Song's son, but the owner was unwilling to part with it. As a result, Wen Zhengming encouraged his friend not to anger such a high official and did this imitation for him.(20120714) 网页展示说明 文徴明（1470－1559）、江苏长洲（现在の江苏省苏州市）の人。絵画は沈周に师事し、元代に遡って学んだ。明四大家の一人。嘉靖戊申（1548）の作。苏轼の「后赤壁赋」を主题に描かれている。全体に淡い青绿で着色されており、青绿を使う元代赵孟頫の文人画の伝统に近いが、山石の结构や重なり具合、木の枝叶の笔法は文徴明そのものである。巻后にある文嘉の跋文にはこの作品にまつわる话が记されている。呉中（苏州）の文士が赵伯骕の原作を所有していた。役人がそれを取り上げて当时権势を夸っていた厳嵩の息子世蕃に献上しようとしたが、持ち主は渡したくない。そこで文徴明が「絵を惜しんで祸を招くべきではない」と、友人である持ち主を谕し、この倣作を描いて慰めたのだという。(20120714)