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- 資料識別：
- 故畫000763N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 愛新覺羅弘旿
- 主題與關鍵字：
- 秋景 松 瀑布 臺閣 橋 水榭 溪澗、湍泉
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 122x56.6公分、全幅 71公分
- 關聯：
- 石渠寶笈三編（延春閣），第五冊，頁2140&*故宮書畫錄（卷五），第三冊，頁553&*故宮書畫圖錄，第十一冊，頁93-94&*弘旿（活動於西元十八世紀後期），字恕齋，又字醉迂，號一如居士、瑤華道人。為滿清宗室，官封固山貝子。其現存作品件款多在乾隆十六年（1751）至五十七年（1791）間。 層巒疊翠，秋葉點綴其間，色彩繽紛絢麗，一派秋高氣爽景致。山石不用線皴，直接以筆橫臥點苔，遠山淡墨一抹，是為沒骨畫法。自題恭仿楊昇筆意，按楊昇為唐朝人，擅長沒骨山水畫。然本幅畫風與明末流行的沒骨山水畫較為近似，因此乾隆題詩則云：真蹟楊昇曾未見，精神真欲逼思翁（董其昌）。&*弘旿，字恕齋，又字醉迂，號一如居士、瑤華道人。為滿清宗室，官封固山貝子。其現存作品件款多在乾隆十六年（1751）至五十七年（1791）間。 層巒疊翠，秋葉點綴其間，色彩繽紛絢麗，一派秋高氣爽景致。山石不用線皴，直接以筆橫臥點苔，遠山淡墨一抹，是為沒骨畫法。自題恭仿楊昇筆意，按楊昇為唐朝人，擅長沒骨山水畫。然本幅畫風與明末流行的沒骨山水畫較為近似，因此乾隆題詩則云：真蹟楊昇曾未見，精神真欲逼思翁（董其昌）。（童文娥）&* Hung Wu, whose style names were Shu-chai and Ts’ui-yü; sobriquets I-ju chü-shih and Yao-hua tao-jen, was a member of the Ch’ing imperial family. His extant works are dated between 1751 and 1792. Layers of green peaks are dotted with autumn leaves. The color is abundantly applied, bright and brilliant. The mountains and rocks are painted in the boneless manner, that is, without contour or texture strokes. In his own inscription, Hung states that he was here following Yang Sheng’s brushwork (Yang was a T’ang artist who initiated the use of the boneless method). In reality, however, the style of this painting compares favorably with that of the late Ming artist Tung Ch’i-ch’ang. &*弘旿（卒於西元一八一一年），為滿清宗室，姓愛新覺羅，字恕齋，又字醉迂，號一如居士、瑤華道人。官封固山貝子。能詩善畫。 層巒疊翠，秋葉點綴其間，色彩繽紛絢麗。山石不用線皴，為沒骨畫法。自題恭仿楊昇筆意。按：楊昇唐人，擅沒骨山水。然本幅畫風實與明末流行之沒骨山水較為近似。故乾隆題詩云：「真蹟楊昇曾未見，精神真欲逼思翁（董其昌）。」&* Hung Wu, a member of the Ch’ing imperial family, was gifted at poetry and excelled at painting. Layers of verdant peaks are dotted with autumn leaves, and the color has been generously applied-bright and brilliant. The mountains and rocks are not done with contour or texture strokes, but have been rendered in the “boneless” manner with ink washes. In his inscription, Hung-wu states that he was following the brushwork of Yang Sheng (a T’ang artist who specialized in the boneless manner). This work, however, correlates more closely to the trend of boneless landscapes from the late Ming dynasty, hence the Ch’ien-lung Emperor’s comparison of the style with that of Tung Ch’i-ch’ang (1555-1636).
- 管理權：
- 國立故宮博物院
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- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
