六朝梁張僧繇雪山紅樹圖 軸
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- 資料識別：
- 故畫000001N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 張僧繇 明人（Anonymous Ming Dynast）
- 主題與關鍵字：
- 冬景（雪景） 江河、湖海 行旅 高士（士人、隱士） 寺廟 齋館 橋 欄杆 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 118x60.8公分
- 關聯：
- 故宮書畫錄（卷五），第三冊，頁1&*石渠寶笈初編（養心殿），上冊，頁640&*故宮書畫圖錄，第一冊，頁1-2&*1.林莉娜，〈六朝梁張僧繇雪山紅樹圖〉，收入林莉娜、張華芝編，《冬景山水畫特展圖錄》（臺北：國立故宮博物院，1989年元月初版），頁53。 2.何傳馨，〈(原題六朝梁張僧繇)雪山紅樹圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁239。 &*張僧繇（約西元六世紀初），蘇州人，曾任武陵王國侍郎、直祕閣知畫事，官至右軍將軍。梁武帝崇信佛教，命僧繇在佛寺畫壁畫，他善作凹凸立體的花紋，畫風帶著外來的影響。群山被大雪所埋，山齋一人憑欄而坐，溪橋有人騎驢而來。一片銀白的雪霽山色與紅樹綠葉交相輝映，色彩鮮麗明快。畫幅右側雖有「僧繇」兩字款，疑為晚明仿其畫風之作。 &*Chang Seng-yu was a native of Soochow and held various government positions. Emperor Wu of the Liang was an ardent believer in Buddhism and commissioned him to execute wall paintings for a Buddhist temple. Chang Seng-yu excelled at rendering the illusion of three-dimensional forms, and his painting style shows traces of foreign influence. In this work, amid snow-covered mountains, a man is seated in his studio and leans on a balustrade. Guests approach over a bridge, one mounted on a donkey. The silvery white of the snowy mountains and the red and green leaves of the trees are vibrant. Although the artist's signature, Seng-yu, appears on the left side of the painting, it was perhaps executed by an artist in the late Ming (1368-1644).&* 全幅以淡墨勾勒物象，捨棄皴法，再敷以青綠、朱紅、白粉等色彩。重複出現圓弧狀造型的山體，呈現一種古拙感。 本幅原題為〈六朝梁張僧繇雪山紅樹圖〉，據唐宋史籍所載，張僧繇（活動於六世紀前半）專長以外來的凹凸畫法繪製佛道人物壁畫。晚明時期流傳許多張僧繇的「沒骨山水」，且有董其昌、藍瑛等人的臨仿作品。此幅應是晚明時期對張僧繇畫風的揣摩與想像。 (20120103)&* This work in light ink outlining the forms eschews texture methods but adds shades of blue-green, vermilion, and powdery white. The repeated bun-shaped mountains reveal an archaic simplicity. This painting was originally titled as by the Six Dynasties artist Zhang Sengyou (fl. first half of 6th c.). According to Tang and Song dynasty sources, Zhang specialized in Buddhist and Taoist wall painting using foreign “convex-concave” decorative methods. However, many “Zhang Sengyou” works in the late Ming dynasty were landscapes in the “boneless” wash method, and were imitations done by such painters as Dong Qichang and Lan Ying. Perhaps this work is also a careful yet imaginative view of Zhang Sengyou’s painting style from the late Ming.(20120103)
- 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
