五代梁關仝秋山晚翠 軸
推薦分享
資源連結
連結到原始資料 (您即將開啟新視窗離開本站)後設資料
- 資料識別：
- 故畫000016N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 關仝
- 主題與關鍵字：
- 秋景 江河、湖海 瀑布 石磴、棧道 橋 欄杆
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 140.5x57.3公分、全幅 97.3公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁658&*故宮書畫錄（卷五），第三冊，頁16&*故宮書畫圖錄，第一冊，頁57-58&*高峰峻峭，巍峨矗立，中有泉瀑，迂迴而下，景緻幽深，奧曲奇偉。山石皴畫筆力雄渾，墨色凝重，表現出厚重結實的質感；並以朱色賦染樹葉，和畫枯枝樹來形容秋日時光。從構圖上看，畫幅兩側甚為促迫，似曾經裁切，原作或本為屏風，後再改裝成立軸形式。 此幅無名款，今之定名為關仝，乃是根據邊幅王鐸順治六年（1649）的跋語而來。王鐸認為此幅結構深峭，筆法老蒼，氣勢磅礡，當為關仝真筆。事實上，目前傳世作品中，並無可靠的關仝畫蹟可以比對，所以本幅是否出於關仝所作，仍有待研究。以風格和表現技法觀察，與燕文貴（約967-1044）畫風略近，成畫時代或可置於北宋中期（約1040年間）。 關仝（十世紀中葉），陜西長安人。所作多關陜（陜西省地區）一帶景緻，峻拔雄渾，畫史評論其畫謂：「筆愈簡而氣愈壯，景愈少而意愈長。」（許郭璜） &*關仝（十世紀中葉），陜西長安人。畫山水師荊浩，而有出藍之譽。所作多關陝一帶景致，雄渾峻拔。論者謂：「筆愈簡而氣愈壯，景愈少而意愈長。」唯不善人物，畫中點景，多由胡翼代筆。本幅無名款，今名係據王鐸跋語而訂定。畫嵯峨高峰，中有泉瀑迂迴，景境幽深。邊角似經裁切，原作或為一屏風形式，後再改裝成立軸。鑑於風格、技法與燕文貴（約九六七－一０四四）略近，故時代應可置入北宋中期。 &*Kuan T'ung was a native of Ch'ang-an in Shansi. He was a pupil of the landscape painter Ching Hao and later surpassed him. Kuan often painted the landscape of the Shansi region with its rugged and soaring scenery. Early connoisseurs commented that as his brushwork became simpler, his spirit became more expressive; as his motifs became less complex, his ideas more far-reaching. His only shortcoming was his inability to paint figures, which were often done by his student Hu I. This painting has no signature, but was ascribed to Kuan by the Ming connoisseur Wang To. Included is a range of soaring peaks, between which are cascades. The path in the corner appears abrupt, suggesting this work may have once been part of a screen remounted later as a hanging scroll. The style is similar to that of Yen Wen-kuei (967-1044), suggesting this scroll may date to about the middle of the Northern Sung (960-1126).&*1.陳韻如，〈關仝秋山晚翠〉，收入林柏亭主編，《大觀- 北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁29- 31。 2.林柏亭，〈關仝秋山晚翠〉，《故宮文物月刊》，第1期（1983年4月），封底裡。 &*關仝（活動於十世紀中期）是荊浩弟子，北宋時與李成、范寬並列三家。他的傳世作品大多可議，唯有此幅最受重視。文獻上說他畫山水石體堅凝、山峰峭拔、雜木豐茂，在此作皆可印證。 層疊的峭峰之下，中央巨岩最為引人注目，而其間斷續出現的步道，則揭示著一個外人不易至的幽谷之存在。這或許正是畫家意旨所在。 本幅畫絹破損嚴重，歷代幾經重裱，亦有加補。如巨岩與右上山塊之連線，與峰頂上之建築皆為後添。(20061206)&*Kuan T'ung, a disciple of Ching Hao, was known along with Li Ch'eng and Fan K'uan as one of the Three Masters. Most works attributed to him are doubtful in terms of authenticity, but this is one of the most highly regarded. Records indicate that in landscape painting he rendered rocks as solid, peaks as steep, and forests as dense. All these features are found in this work. Below and emerging from the ridges of peaks, a large central cliff juts out in the lower part of this painting to attract the viewer’s attention. A path winds its way along with the stream into the background, suggesting the inaccessible and isolated nature of the terrain. This perhaps is exactly what the artist intended to portray. The silk of this work is heavily damaged and has been remounted several times in the past, being repaired and patched in several places. For example, the continuity between the central cliff and mountain forms in the upper right, along with the building on the peak, are later additions.(20061206)
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 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
