五代南唐趙幹江行初雪圖 卷
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- 資料識別：
- 故畫000964N000000000
- 資料類型：
- 繪畫
- 著作者：
- 趙幹
- 主題與關鍵字：
- 漁夫、船夫 楊柳 漁船 蘆葦 騾．驢 鸕 #40384; 江河、湖海 侍從（侍女、童僕） 行旅 寒林．枯樹 耕織漁獵 橋
- 日期：
- TIME STAMP:18-9月 -06
- 格式：
- 本幅 25.9x376.5公分&前隔水 26.7x12.3公分&後隔水 26.2x12.4公分&拖尾 26.3x90.2公分
- 關聯：
- 石渠寶笈初編（隨安室），下冊，頁1178&故宮書畫錄（卷四），第二冊，頁 17 &故宮書畫圖錄，第十五冊，頁153-160&趙幹，南唐時江寧人。為南唐後主畫院學生。山水多作江南景，畫樓、觀舟船、水村、漁市、花、竹。論者謂其深得浩渺之意，無一點朝市風埃。 畫江邊漁作，旅客攢行。樹皆中鋒圓筆，遒勁有如屈鐵，樹幹以乾筆皴染，大似後人皴山，自具陰陽向背。所畫蘆花，以赭墨裹粉，一筆點成，小丘及坡腳，亦以淡墨成塊塗抹而無皴紋，皆與後人異趣，人驢面目，並有苦寒之色。 &Chao Kan (fl. 10th cent.) served in the Imperial Painting Academy of Li Hou-chu, the last ruler of the Nan-t’ang dynasty. His landscapes depict the scenery of Kiangnan. In painting buildings, monasteries, boats, riverside hamlets, fishing villages, flowers and bamboo, it is said that he deeply expressed the boundless sentiment of nature without the slightest trace of urban taint. The landscape depicts fishermen on a river, with some travelers wending their way along a path. The trees were all painted with an upright brush, giving them a strength similar to bent steel. Chao Kan's use of dry-brush strokes and washes to paint the trunks of the trees is similar to the technique used by later artists in rendering mountains. The faces of figures and mules reflect the biting cold. &本畫為現存最可信的五代南唐畫蹟之一，上有傳為李後主的題識，指明作者為畫院畫家趙幹。全畫描繪南方江邊行旅所見漁人生活，時瑞雪初降，蕭瑟之中仍可見庶民活動的和樂勤奮。這種風俗畫既是紀實，也有理想化的成份。本卷原為金章宗收藏。一三二九年由奎章閣諸臣共同呈進，文宗並在幅中親書神品上的評第。他的品題表示宮廷對中原傳統的收納，也形塑著自己的藝術帝王形象。&「江行初雪圖」是一幅山水人物並重的繪畫作品，也是傳世作品中時代很早的一幅絹地山水畫。畫家趙幹，江蘇江寧人，南唐李後主在位時，為畫院學生。自小生長在江南，因而所畫山水多為江南景物，尤其擅長佈景。在這幅手卷中，畫家就利用彎曲的黃蘆堤岸，構置出浩渺的水波江面。畫中寒雪紛飛，江邊漁人為了生計得繼續頂著風雪幹活，備極艱辛。而行走在岸邊的旅客，同樣冒著寒雪趕路，人、驢皆帶著一付苦寒難行的面目，畫家藉著筆下人物的表情，反映出畫中寒凍的江天。全幅淡墨漬染絹地，再灑白粉為雪。寒林枯木皆用中鋒圓筆，勁挺有力。樹幹以乾筆皴染，自具陰陽向背。所畫蘆花，以赭墨裹粉，一筆點成，極富創意。小丘及坡腳，也以淡墨成塊塗抹而無皴紋。本幅上鈐有金、元、明、清各朝內府收藏印，足證此卷為一件流傳有緒的精品。&This authentic early landscape painting on silk also includes vivid descriptions of figures. The Southern T’ang ruler Li Yu (r. 961-975) at the beginning of the scroll to the right wrote, “Early Snow on the River by Student Chao K'an of the Southern T'ang,” providing contemporary proof of both the title and artist. Chao K'an was a native of Kiangsu province who spent his life in the lush Kiangnan area. Not surprisingly, his landscape painting here shows the water-filled scenery typical of the area. Unrolling this scroll from right to left shows the activities of fishermen zigzagging among isolated expanses of water. Despite the falling snow, fishermen continue to toil away to make a living. Travelers on the bank also make their way in the snow, the artist showing the bitter cold through the expressions on their faces. The bare trees and dry reeds only add to the desolation of the scene. Chao K'an sprayed dots of white color for a realistic effect to suggest wind-driven flakes of snow. Chao K'an's centered brushwork outlining the bare trees is also powerful, and the tree trunks were textured with dry strokes to suggest light and dark. Chao also creatively depicted the reeds using single flicks of the brush, and he modeled the land forms without using formulaic strokes. The history of the seal impressions indicates that this masterpiece was treasured in both private and imperial collections starting from the Sung dynasty (960-1279).
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- 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
