石渠寶笈三編(延春閣),第五冊,頁2515&*故宮書畫錄(卷六),第四冊,頁234&*趙孟頫(西元一二五四-一三二二年),浙江吳興人,字子昂,號松雪道人。本宋宗室,宋亡仕元,至翰林學士承旨,封魏國公,諡文敏。 本幅松樹及巖石的造形出於李成、郭熙一系。山峰重於勾輪廓,而少皴筆。敷色先以赭石打底,再分別由峰頂以石青、石綠罩染。青綠與赭色的搭配,顯得沉厚中有一份古雅,襯托出萬般俱靜,但聞松籟,所謂天人合一的氣氛。&*Chao Meng-fu, a native of Chekiang province, was a scion of the Sung who also served under the following Yüan in the Hanlin Academy. He was famed as a revivalist in painting, to which he often added calligraphic techniques. The shapes of the pines and mountain forms all derive from those of the Li Ch'eng and Kuo Hsi tradition. The peaks were first outlined and then textured. Ochre was applied as a base for the coloring,to which blue and green were added. This complementary color scheme of warm and bright hues creates an archaic elegance that brings out the majestic silence and antiquity of the land. Sound is suggested by a breeze that whispers through the pines.&* 趙孟頫(1254∼1322),浙江吳興人。字子昂,號松雪道人。原為宋宗室,宋亡後入仕元朝,官至翰林學士承旨,封魏國公。工書法,他是元代著名的文學家、書法家,更是元代山水畫變革的先驅,提倡復古,無論山水、人物、花鳥、走獸等皆倡跨越南宋院畫之纖巧,而直追北宋以前的古樸,再倡以書法入畫,影響後世甚鉅。 畫河岸松巖,景境幽深。近景畫松樹茆亭,一士人坐觀對岸岩石飛瀑。松樹及巖石造形出於李成、郭熙一系風格,山石造型雖近雲頭皴法,但仍用細筆,勾多皴少,赭色作底,上罩染石青、石綠,青綠與赭石的搭配,顯得沈厚中有一份古雅,襯托出萬般俱靜,但聞松聲流泉,而有天人合一的氣氛。 &*Chao Meng-fu, a native of Chekiang province, was a scion of the Sung who also served under the following Yuan in the Hanlin Academy. He was famed as a revivalist in painting, which he often did with a calligraphic touch. The shapes of the pines and mountain forms all derive from those of the Li Ch'eng and Kuo Hsi tradition. The peaks were first outlined and then textured. Ochre was applied as a base for the coloring, to which blue and green were added. This complementary color scheme of warm and bright hues creates an archaic elegance that brings out the majestic silence and antiquity of the land. Sound is created by the suggestion of a breeze whispering through the pines. &*1.王耀庭,〈元趙孟頫茅亭松籟〉,收入王耀庭編,《青綠山水畫特展圖錄》(臺北:國立故宮博物院,1995年七月初版一刷),頁85-86。 2.許郭璜,〈元趙孟頫茅亭松籟〉,收入《李郭山水畫系特展》(臺北:國立故宮博物院,1999年初版),頁39-42。