摘要
日本阿部房次郎藏苏轼《枯木竹石图》卷自公布以来,颇受关注,然卷中南宋王厚之两枚鉴藏印以及明初沐氏"黔宁王子孙永保之"印章存在"硬伤";米芾未到称"翁"之年,而刘良佐以"海岳翁"称之,不合称谓礼制;米芾和苏轼相互推许,其为苏轼木石图题跋,却不提及其人其画,有违常情;米芾诗跋与其同期书法水平和风格不类,且题署格式不合宋人规范。
Kumu Zhushi Tu by Sushithat collected by Japan collector Fusajiro Abe has attracted considerable attention since its publication.However,there are"obvious mistakes"in the two seals of collection by Wang Houzhi living in the Southern Song Dynasty and the seal of"Keeping by Prince Qianning’s descendantsforever"by Mu’s in the early Ming Dynasty;Mi Fu was not yet aged,so it did not fit for the appellation etiquette for Liu Liangzuo callinghim“Old man Haiyue”;Mi Fu and Su Shi had mutual esteem and commending,so it was not in reason for Mi notmentioning Su when writing comments on his painting;The calligraphy of poetry commentwritten by Mi Fu was different from the calligraphy level and style of his writings in the same period,and the inscriptions form was not in accordance with norms in the Song Dynasty.
出处
《南京艺术学院学报(美术与设计)》
CSSCI
北大核心
2019年第1期25-29,209,共6页
Journal of Nanjing Arts Institute:Fine Arts & Design
关键词
《枯木竹石图》
海岳翁
黔宁王
王厚之
Kumu Zhushi Tu(Pictures of Dead Wood,Bamboo and Stone)
old man Haiyue
Prince Qianning
Wang Houzhi