| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈初編（御書房），下冊，頁1142
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁318
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收藏著錄
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故宮書畫圖錄，第六冊，頁211-212
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參考書目
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1.江兆申，〈沈周策杖圖 軸〉，收入國立故宮博物院編，《吳派畫九十年展》（臺北：國立故宮博物院，1975年初版，1976年再版，1981年三版），頁297。
2.李玉珉，〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(四) — 繪畫〉，《故宮文物月刊》，第247期（2003年10月），頁35。
3.李霖燦，〈山水畫中點景人物的斷代研究〉，《故宮季刊》，第十三卷第二期（1978年冬），頁25-40。
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參考書目
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何炎泉、陳階晉、陳韻如，〈明沈周策杖圖 軸〉，收入《明四大家特展-沈周》（臺北：國立故宮博物院，2014.01），頁54-57、311。
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內容簡介（中文）
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沈周（西元一四二七－一五０九年），長洲（今江蘇蘇州）人。字啟南，號石田，又號白石翁。為人寬厚有大度，能詩文，善書法，又長山水，並兼工墨畫花果、翎毛等。 溪山間，一人策杖而行。全作構圖簡約，筆墨簡澹，頗具倪瓚清逸之趣，惟用筆雄健，蒼勁渾厚，仍見石田本色。題識書法與本院所藏沈氏乙巳（一四八五）年重題「參天特秀」圖近似，推測此乃沈氏五十九歲左右之作。
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內容簡介（中文）
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沈周（1427－1509），長洲（今江蘇蘇州）人。字啟南，號石田，又號白石翁。為人寬厚有大度，能詩文，善書法，又長山水，並兼工墨畫花果、翎毛等。
溪山間，一人策杖而行。本幅以河水來分隔畫面，形成三段式構圖。筆墨簡澹，頗具倪瓚清逸之趣，惟用筆雄健，蒼勁渾厚，仍見石田本色。題識書法與本院所藏沈氏乙巳年（1485）重題〈參天特秀〉圖近似，推測此乃沈氏五十九歲左右之作。
(20110913)
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內容簡介（英文）
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Shen Zhou (style name Qi’nan; sobriquets Shitian and Baishiweng) was a native of Changzhou (modern Suzhou, Jiangsu). Known for his magnanimous character, he was also accomplished at poetry and prose while excelling at calligraphy. He specialized in painting landscapes as well as flowers, fruits, and animals in monochrome ink.
A scholar carrying a staff ambles along a path beside a stream in a mountainous landscape. The arrangement and brushwork have been pared down to a river dividing the scenery, creating a tripartite composition. The simple brushwork has much of the untrammeled purity of Ni Zan’s manner. The powerful and hoary brush strokes, however, clearly reveal Shen’s own style. The calligraphy of Shen’s inscription here is similar to that on his “Virtue Reaching to Heaven” (dated to 1485) in the National Palace Museum collection, suggesting that this work was done around the age of 59.
(20110913)
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內容簡介（英文）
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Shen Chou, a native of Soochow, was an accomplished scholar, an able poet, essayist, and calligrapher, as well as an excellent painter. He was also talented at depicting such subjects as flowers-and-fruit and birds-and-animals in monochrome ink. A scholar carrying a staff ambles along a path beside a stream in a mountainous landscape. The composition and brushwork have been pared down, suggesting the untrammeled purity of the style of Ni Tsan. The powerful and hoary brush strokes, however, clearly reveal Shen’s own style. The style of Shen’s inscription here is similar to that on his Virtue Reaching to Heaven (dated to 1485) in the Museum’s collection, suggesting that this work was done around the age of 58.
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網頁展示說明
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沈周（1427－1509），長洲（今江蘇蘇州）人。字啟南，號石田，又號白石翁。幼時便聰穎過人，能詩文，善書法，又長於繪畫。他遠追董源（活動於十世紀上半葉），近師吳鎮（1280－1354）、王蒙（1308－1385），但自成一家。他精於山水，並兼工墨畫花果、翎毛等。
本幅採三段式構圖，以河水來分隔畫面，前景的樹石與遠景的山丘相照應，構圖簡約，顯然脫胎於倪瓚（1301－1374）之作。但是作者不但在畫面中增加了一位策杖而行的點景人物，同時用筆雄健，墨色較濃，作風蒼勁渾厚，這些都是沈周的本色，與倪氏平淡清逸畫風不同。王世貞評沈周畫云：「謂於諸體無不擅長，獨倪雲林（倪瓚）筆力太過」，誠不虛妄。這件畫作無年款，題識書法與本院所藏沈氏乙巳（1485）年重題「參天特秀」圖近似，推測是沈氏五十九歲左右的作品。（李玉珉）
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網頁展示說明
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Shen Chou, a native of Ch'ang-chou (modern Soochow, Kiangsu), was a clever youth who became an accomplished scholar, able poet, essayist, and calligrapher, as well as an excellent painter. In landscape painting, he reached back to the style of Tung Yuan (fl. 1st half of 10th c.) and more recent artists, such as Wu Chen (1280-1354) and Wang Meng (1308-1385), to create his own style. He was also talented at depicting such subjects as flowers-and-fruit and birds-and-animals in monochrome ink.
The composition of this work is divided into three horizontal sections with the expanse of water acting as a divider between the foreground scene of trees and rocks and the distant one of hills. The abbreviated composition clearly is an adaptation on that of Ni Tsan (1301-1374), but Shen Chou has here not only added the figure of a solitary scholar walking with a staff to accentuate the composition, but also worked with darker ink and more powerful brushwork for a style that differs from the light and ephemeral one of Ni Tsan. The later critic Wang Shih-chen once wrote that Shen Chou "...could paint well in every style, except that of Ni Tsan, for which his brushwork was overdone," which does not appear exaggerated. Although this work is undated, the calligraphy of Shen's inscription here is similar to that on his Virtue Reaching to Heaven (dated to 1485) in the Museum's collection, suggesting it was done around the age of 59.
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