[{"data":1,"prerenderedAt":60},["ShallowReactive",2],{"artwork-ming-ren-xi-shan-sheng-jing-he-bi-ce-cha-mo-yu-tu-ye-shen-zhou-233136":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":25,"material":26,"size":27,"collection":28,"collections":29,"showCount":30,"zanCount":31,"manualWeight":31,"mainColor":32,"tagLinks":33},233136,"ming-ren-xi-shan-sheng-jing-he-bi-ce-cha-mo-yu-tu-ye-shen-zhou-233136","明人西山胜景合壁册-茶磨屿图页","明","沈周","北京故宫博物院","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[12,13,14,15,16,17,18,19,20,21,22,23,24],"国画","书画","册","水墨","设色","山水","皴法","树木","山石","湖泊","河岸","松树","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5e89c71c28c71d0d4496c16cab2c35.jpg","纸本 ，设色","纵22.8cm，横33.2cm","",[],10,0,"BDBDBD",[34,36,38,40,42,44,46,48,50,52,54,56,58],{"name":12,"slug":35},"guo-hua",{"name":13,"slug":37},"shu-hua",{"name":14,"slug":39},"ce",{"name":15,"slug":41},"shui-mo",{"name":16,"slug":43},"she-se",{"name":17,"slug":45},"shan-shui",{"name":18,"slug":47},"cun-fa",{"name":19,"slug":49},"shu-mu",{"name":20,"slug":51},"shan-shi",{"name":21,"slug":53},"hu-po",{"name":22,"slug":55},"he-an",{"name":23,"slug":57},"song-shu",{"name":24,"slug":59},"zhu-zi",1777535430672]