元唐棣倣郭熙秋山行旅 軸
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- 資料識別：
- 故畫000253N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 唐棣（Tang Di）
- 主題與關鍵字：
- 秋景 溪澗、湍泉 江河、湖海 瀑布 侍從（侍女、童僕） 樵夫 漁夫、船夫 行旅 寒林．枯樹 松 騾．驢 臺閣 房舍 茅草屋 橋 漁船
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 151.9x103.7公分、全幅 104.8公分
- 關聯：
- 故宮書畫錄（卷五），第三冊，頁186&*故宮書畫圖錄，第四冊，頁227-228&*1.許郭璜，〈元唐棣倣郭熙秋山行旅〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁53-56。 2.林莉娜，〈元唐棣倣郭熙秋山行旅〉，收入林莉娜編，《秋景山水畫特展圖錄》（臺北：國立故宮博物院，1989年十月初版），頁70。 &*唐棣（約西元一二八七—一三五五年），字子華。浙江吳興人。善畫山水，師郭熙，得其蒼潤蓊鬱之趣。 畫寒林野店，澗石曲徑，綴以行旅數人。峰巒高聳，古寺隱現山間。本幅採主峰中立之構圖，山石以捲雲皴畫出，枯枝則運以蟹爪筆，山石靈動，枯枝勁挺，皆從郭熙筆法而來。全幅染多於皴，山石秀潤，煙嵐飄渺，氣氛安適恬靜。&*T'ang Ti, a native of Chekiang, excelled at landscape painting and followed the style of Kuo Hsi. He also studied under Chao Meng-fu, being influenced by his rich and archaic style. This wintry setting includes a path that runs from the right, by the inn, and to the left, up into the mountains to temple complex tucked behind the cliffs. The composition is composed of an off-center mountain. Earthen slopes were done in curled-cloud texture strokes, and tree branches in the crab-claw manner. The thrusting mountain forms seem to pulsate in contrast with the craggy trees, which are all derived from the Kuo Hsi style. Here, the washes dominate the texture strokes. The moist forms and mist give the work a still and silent atmosphere.&*唐棣（1296－1364），字子華。吳興（今浙江湖州）人。善畫山水，師郭熙，得其蒼潤蓊鬱之趣，嘗畫嘉熙殿壁，所作為人貴重。 畫寒林野店，澗石曲徑，綴以行旅數人。峰巒高聳，古寺隱現山間。本幅採主峰中立之構圖，靈動的山石以捲雲皴皴寫，挺勁的枯枝則以蟹爪筆畫成，無一不從郭熙筆法而來。全幅染多於皴，山石秀潤，煙嵐飄渺，氣氛安適恬靜。 (20110913)&*Tang Di (style name Zihua), a native of Wuxing (modern Huzhou, Zhejiang), excelled at landscape painting and followed the style of Guo Xi, achieving his hoary and luxuriant manner. Tang Di also did wall paintings at the palatial Jiaxi Hall, for which he found favor. This rustic setting of wintry trees includes a winding path that runs in a valley from the right with several travelers. It then heads up into the mountains to a temple complex tucked behind the cliffs. The composition is composed of an off-center monumental mountain, earthen slopes done in spirited “curled-cloud” texture strokes, and withered tree branches rendered with “crab-claw” brush strokes, which all derive from the Guo Xi style. Here, washes dominate the texture strokes throughout the work, the elegant mountain forms and misty atmosphere creating an atmosphere of peace and tranquility. (20110913)
- 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
