宋郭熙早春圖 軸
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- 資料識別：
- 故畫000053N000000000
- 資料類型：
- 繪畫
- 著作者：
- 郭熙
- 主題與關鍵字：
- 春景 溪澗、湍泉 瀑布 寒林．枯樹 松 行旅 茅草屋 亭 篷舟 山徑 江河、湖海 孩童 漁夫、船夫 百姓 寺廟 橋
- 日期：
- 宋神宗熙寧五年（1072）
- TIME STAMP:19-8月 -05
- 格式：
- 本幅 158.3x108.1公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁642&故宮書畫錄（卷五），第三冊，頁52-53&故宮書畫圖錄，第一冊，頁213-214&郭熙（西元一０二三－約一０八五年），河南溫縣人。畫幅左側中間有一行小字隸書款：「早春。壬子年郭熙畫」，知此畫作於一０七二年。「早春」是「谿山行旅」之後，北宋山水另一里程碑。范寬呈現出大自然莊嚴與永恆的特質，郭熙則捕捉山水在一年四季中不同的風貌和煙雲變幻的氣氛，他畫山石多用「雲頭皴」，林木則以「蟹爪枝」見長。全幅煙嵐浮動，暗示宇宙間無窮的生機。&"Early Spring" is here conceived of as a mist and forestfilled mountain. The brushwork registers infinite variations of pressure and ink: the silhouette of the rocks and boulders are delineated with a heavy touch, the fog-washed trees with a light one. The washed work in harmony to express a complete idea of nature's forms under these seasonal conditions - with the tree-tops disappearing perceptibly into the vapor, their trunks still vigorously etched in darker ink. Such virtuosity, subtety, and assiduous attention to the details of expression have been urmatched by any of Kuo Hsi's followers, and this monument, dated 1072, stands as the painter's supreme masterpiece. Kuo Hsi, a native of Honan, served as an official in the Imperial Painting Academy. He excelled at landscapes and wintry forests, which were executed with complex formal compositions and profound content.&Kuo Hsi (active late 11th century) came from Wen-hsien, Honan. He was a student (i-hsüeh) in the Painting Academy, specializing in landscapes and wintry trees. He was extremely skilful and profoundly original, and although he studied the style of Li Ch’eng he was also able to express his own feelings. On a large screen or high wall he would paint tall pines and large trees, winding streams and jagged promontories, lofty peaks and soaring cliffs, or high mountains gracefully rising, transformed or obliterated by mist and clouds and partially visible among them – he could render a thousand forms and myriad appearances. His mountain peaks were high and precipitous, his trees characterized by “crab-claw” branches, and his ink fairly dilute; his brushwork resembled that of cursive calligraphy, In his early years he concentrated on developing his skill, while in his later year his brushwork became increasingly strong. He wrote the Treatise on Landscape Painting (Shan-shui hua-lun) in which he said that one should study the near and far, the shallow and deep, the effects of wind and rain, light and shadow, and the changes of the seasons and times of day.& 郭熙（活動於十一世紀），河南溫縣人。神宗熙寧年間（1068？1077），為翰林圖畫院藝學，善畫山水。著有《林泉高致》一書，是我國畫史上討論山水畫的一部重要論著。 這幅畫的主要景物集中在中軸線上，近景有大石和巨松，背後銜接中景扭動的山石，隔著雲霧，兩座山峰在遠景突起，居中矗立，下臨深淵，深山中有宏偉的殿堂樓閣。左側平坡委迤，令人覺得既深且遠。作者以粗闊扭曲的線條，描繪山石輪廓，再用乾溼濃淡不同的墨色，層層皴擦出岩石表面的紋理，因為形狀像捲曲的雲塊，所以稱為「捲雲皴」。樹木枝幹虯曲，枝椏像伸指布掌的樣子，稱為「蟹爪枝」，是承襲自宋初李成一系的特色。 畫幅右側畫家自題：「早春。壬子（1072）年郭熙畫。」顧名思義，這幅畫作是在描寫瑞雪消融，雲煙變幻，大地復甦，草木發枝，一片欣欣向榮的早春景象。 &Kuo Hsi, a native of Honan province, entitled this work "Early Spring" and signed it "Painted by Kuo Hsi in the jen-tzu year (1072)." Coming after "Travelers Among Mountains and Streams" by Fan K'uan, this is one of the Museum's masterpieces of Northern Sung monumental landscape painting. Fan K'uan represented the solemn and eternal features of the mountains, while Kuo captured the essence of spring with his evanescent and atmospheric use of ink washes. With "cloud-head" texture strokes for the mountain forms and "crab-claw" ones for the trees, the landscape in this painting seems to almost pulsate, flow, and disappear (only to reappear again), suggesting the hidden forces of Nature and the cosmos at work.
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- 國立故宮博物院
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
