元倪瓚容膝齋圖 軸
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- 資料識別：
- 故畫000299N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 倪瓚
- 主題與關鍵字：
- 齋館 亭 江河、湖海
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明太祖洪武五年（1372）
- 格式：
- 本幅 74.7x35.5公分、詩塘 9.2x35.3公分、全幅 62公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁646&*故宮書畫錄（卷五），第三冊，頁222-223&*故宮書畫圖錄，第四冊，頁301-302&*1.蔣復璁，〈倪瓚容膝齋圖〉，收入國立故宮博物院編，《元四大家》（臺北：國立故宮博物院，1975年初版，1976年二版，1984年三版），頁58-59。 2.薛慧蓉，《倪瓚容膝齊圖之研究》，國立台灣大學歷史學研究所中國藝術史組碩士論文，1986年。 3.蘇玲怡，〈我們S4的南方憂鬱 不要政治，只愛江湖—元末文人畫四大家〉，《典藏古美術》，第216期(2010年9月)，頁150-153。 4.陳韻如，〈元倪瓚容膝齋圖〉，收入何傳馨主編，《山水合璧：黃公望與富春山居圖特展》（臺北：國立故宮博物院，2011年五月初版一刷），頁333。&*倪瓚（西元一三0一至一三七四年）字元鎮，號雲林、迂翁。家富饒，築清閟閣蓄古書畫，善山水，為元四大家之一。 此幅成於洪武壬子（西元一三七二年），七十二歲所作。?此幀先寫贈其友檗軒，檗軒藏之三年，又寄贈醫師仲仁，請雲林補詩，容膝齋即仲仁居處，是先有畫而後有題者也。此幅筆墨極為淡雅，畫樹墨色層次較多，中鋒多於側筆，近坡皴多染少，皴筆亦特覺清勁。&*Ni Tsan (tzu Yüan-chen, hao Yün-lin, Yü-weng) was a native of Wu-hsi, Kiangsu. Son of a wealthy merchant, he was a bibliophile, collector, amateur poet and painter. He remained aloof of any official commitment and spent the later part of his life wandering the streams and lakes of his native province. This painting was executed when the artist was 72 years old. The colophon states that the painting was first given to Ni's friend Pi-hsüan, who kept it for three years and then gave it to his physician friend Chung-jen, who asked the artist to inscribe a poem. Jung-hsi was the residence of the physician, who first received the painting and then the inscription. The brushwork is especially bland and refined, with tonal variations in the trees most carefully built up. An upright brush with point-centered energy has been employed more often than a slanted brush and broken hemp-fibre strokes are more frequent than washes in the modeling of the rocks.&*倪瓚畫此於壬子（洪武五年，1372），兩年後題贈潘仁仲醫師。此時已是明朝，倪瓚自元末江南動亂後，放棄家業飄泊於太湖將近二十年。畫中描寫一河兩岸景致，前景坡岸略廣，但空亭卻更為簡略。從荊關風格衍生而出的折帶皴筆，既模糊了山石的輪廓分際，也改造了董源濕潤濃重筆觸，轉化為素淨的筆墨形式。黃公望於二十多年前指點倪瓚作〈六君子圖〉的董源面貌，已經轉化成更為精鍊的形式語彙。(20110609)&*Ni Zan painted this work in 1372 during the early Ming dynasty, two years later inscribing and presenting it to the physician Pan Renzhong. Then already in the Ming dynasty, Ni Zan had given up his family property and led a life of wandering the waters of the Lake Tai area for almost twenty years following the chaos of the late Yuan. This painting depicts the scene of a river with its two banks. The foreground sloping area is slightly more expansive, but the empty kiosk makes it appear even sketchier. The angular texture strokes derived from the style of Jing-Guan (Jing Hao and Guan Tong) blur the boundaries of outlines for the landscape forms. They also transform the moist and dense brush strokes of the Dong Yuan manner, in the process becoming a kind of pure and clean style. More than twenty years earlier, Huang Gongwang pointed out the appearance of Dong Yuan’s style in Ni Zan’s “Six Gentlemen,” now having become a more refined and tempered form of visual vocabulary.(20110609)
- 管理權：
- 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
