五代梁關仝畫關山行旅 軸
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- 資料識別：
- 故畫000017N000000000
- 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：
- 石磴、棧道 江河、湖海 商販 百姓 行旅 狗 雁 雞 茅草屋 店舖 寺廟 籬笆、圍牆 橋 篷舟 飲食器 傢俱（屏風） 騾．驢
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 144.4x56.8公分、全幅 58公分
- 關聯：
- 石渠寶笈續編（寧壽宮），第五冊，頁2641 &*故宮書畫錄（卷五），第三冊，頁16-17&*故宮書畫圖錄，第一冊，頁59-60&*1.陳韻如，〈關仝關山行旅〉，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35- 37。 &*關仝，長安人（今陜西長安縣西北），五代梁時人。安儀周評本幅云：絹素厚硬，神氣煥然。中一大山高聳，四面渾圓，其雄偉之勢，令人駭目。山石輪廓，落筆有粗細斷續之分，皴法加之水墨皴染。其間山腰樓觀，溪面橋梁，茅屋野店，雜以雞太驢豕之屬，客旅往來，宛然真景。 &*Kuan T'ung was a native of Ch'ang-an, Shansi. An I-chou has criticized this painting as follows: "The silk is thick and stiff, but the vital spirit is vibrant, From the center of the painting rises a lofty mountain, imposing and awe-inspiring in appearance. The peaks and rocks are outlined, the brush being applied in thick, thin, broken, and continuous strokes. The mountains is skirted by storied buildings and a monastery. A bridge, thatched huts, and country shops complete this realistic scene, where travelers come and go amid a menagerie of chickens, dogs, mules, and pigs." &*根據畫軸下方背後清初名書家王鐸寫於一六二五年的題識，本畫被歸為荊浩的學生關仝（活動於十世紀中期）之作。它的內容與〈秋山晚翠〉頗為不同，描繪著一個充滿人物活動的山谷景象。其中對行旅、旅店與村落中居民與牲畜等細節，掌握得十分生動。這讓人想起《宣和畫譜》中的關仝長於「村居野渡」、「漁市山驛」的記載。但在山體質面的處理上，此作則較為簡拙，或許不是關仝真蹟，而係學生輩，如商訓在十一世紀中期的創作。 此畫在村落部份有許多修補，左下角跪拜者前之伏地人物，顯然即為補絹上的後添之筆。(20061206)&*This painting, according to the 1625 inscription by the famous early Ch'ing calligrapher Wang T’o on the lower back of the scroll, is ascribed to Kuan T'ung, a student of Ching Hao. The contents, however, differ from those of “Late Greenery of Autumn Mountains” also on display here, depicting scenery of a mountain valley brimming with human activities. Among them, such details as figures traveling, people at an inn, and the livestock and village residents reveal a firm grasp of life in the countryside. It also reminds one of a record in the Northern Sung imperial catalogue Hsüan-ho Manual of Painting, describing Kuan T'ung as painting “village residences and rustic crossings” as well as “fishing markets and mountain stops”. However, in terms of the texturing of the mountains, this work appears slightly simplified and awkward. Although perhaps not an actual work by Kuan T’ung, it probably belongs to a later generation following his style, such as Shang Hsün, active in the mid-11th century. There are many repairs to the village part of this work. For instance, the figure in the lower left corner prostrating on the ground is obviously a later addition on the added patch of silk.(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
