元人春山圖 軸
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- 資料識別：
- 故畫000335N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 主題與關鍵字：
- 春景 寒林．枯樹 石磴、棧道 松 寺廟 橋 亭 臺閣 江河、湖海
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 73.2x42.3公分、全幅 67公分
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁1153&*故宮書畫錄（卷五），第三冊，頁250&*故宮書畫錄，第五冊，頁139-140&*1.許郭璜，〈元人春山圖〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁77-80。 2.〈元人春山圖〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁49。 3.陳昱全，〈元仁春山圖〉，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331。 &*皴山畫樹，筆法靈動天然，毫不雕飾，質朴中具冷逸幽趣。幅中山石大都呈圓弧狀，以枯筆濃墨和遒勁挺捷的筆法勾勒，淡墨渲染不多或因紙質關係而年久微退去，故濃墨圓筆點苔及枯枝樹則顯得甚為突出，全幅散發出一股冷澀枯寂的美感。 本幅無作者名款，有學者從畫上楊維禎題詩之書法風格與畫中山石的輪廓線條筆意相仿，認為款題與畫作皆出於一人之手。&*This painting depicts a river flowing through a mist-filled valley. The mountain forms were outlined in heavy ink and then textured with washes and dots rather than individual strokes. In the cluster of pine trees in the lower left corner, the movement of the brush is vigorous and strong. The lines defining the buildings are strong and solid. The brushwork here, especially that for the "crab-claw" branches, is modeled after the manner of Kuo Hsi. At the top of the scroll is an inscription by Yang Wei-chen. The brushwork is archaic and the ink is rich, creating for their complementary relationship. Some scholars believe that the painting was painted by Yang Wei-chen himself.&*此幅以枯筆濃墨和遒勁的筆法鉤勒「蟹爪」寒林，結合淡墨暈染出「石如雲動」的山體，顯屬元代李郭派山水。但從山凹、樹石與遠山峰頂上大量墨點看來，此作亦受董巨與二米畫風的影響。 畫上楊維楨題詩的墨色和筆法與山石及樹枝相合，推測此畫即為楊維楨親筆。詩文提及「道人自指讀書處。文璧峯前宅一區」，據考楊氏書齋坐落於「文璧峯」山腳，此畫或是其住所周遭山川風物的寫照。(20110609)&*This painting was done with a dry brush and thick ink; strong brushwork outlines the “crab-claw” branches of wintry forests. Along with light ink washes to create mountain forms of “stones like clouds moving,” this work is clearly in the Li-Guo (Li Cheng and Guo Xi) landscape manner of the Yuan dynasty. However, judging from the numerous moss dots on the tops of the distant mountains, trees and rocks, and coves, this work also reflects the influence of the painting styles of Dong-Ju (Dong Yuan and Juran) and the Two Mi’s (Mi Fu and Mi Youren). The ink tone and brushwork of Yang Weizhen’s poetry inscribed on this work match those of the landscape forms and tree branches, suggesting that it could have actually been painted by Yang himself. The poetry mentions, “This Taoist refers to his own place of study, an area of residence in front of Wenbi Peak.” Since Yang’s studio is known to have been located at the foot of Wenbi Peak, this painting probably also depicts the landscape scenery around his dwelling.(20110609)
- 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
