五代南唐巨然秋山問道圖 軸
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- 資料識別：
- 故畫000021N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 巨然（Juran）
- 主題與關鍵字：
- 秋景 江河、湖海 高士（士人、隱士）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 156.2x77.2公分、全幅 78.3公分
- 關聯：
- 石渠寶笈三編（乾清宮），第一冊，頁481&*故宮書畫錄（卷五），第三冊，頁24&*故宮書畫圖錄，第一冊，頁93-94&*北宋上半期的山水畫，以華北地區畫家居畫壇的重要地位。至北宋後半期，因米芾（1051-1107）大力推崇董源（約活動於十世紀上半葉）、巨然（約活動於十世紀下半葉），江南地區的董巨畫派因此逐漸受到重視。巨然師承董源，所畫之景緻嵐氣清潤，平淡天真，其風格與雄健峻峭的華北畫風相異其趣。 本幅繪土山層疊，山形圓渾不做峻峭之崖壁，山頂有卵形巨石堆壘，名之為「礬頭」。以長弧形的線條皴山畫石，名之為「披麻皴」，筆勢柔暢，淡墨居多，饒清潤平淡之韻味。畫中尚有溪流幽徑，風蒲茅舍，一片江南風光。本幅是存世傳為巨然作品中重要之一件，惟其收傳印記「司印」之尺寸與習見者略小（註1），進而引起疑點之討論。（林柏亭） 註1：傅申，（巨然存世畫蹟之比較研究），《故宮季刊》，二卷二期，（台北：國立故宮博物院，1967.10），頁62—63。 &*1.林莉娜，〈五代南唐巨然秋山問道圖〉，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62。 2.傅申，〈巨然存世畫蹟之比較研究〉，《故宮季刊》，第二第二期（1967年十月)，51-79。 &*巨然，南唐鍾陵人，為開元寺僧。南唐亡（西元九七五年），隨後主李煜降宋，至汴梁。工畫山水，師事董源，善畫煙嵐景象，臻於妙境。與師齊名，並稱董巨。緣溪小徑蜿蜒深入，山塢中有茅屋四間，一人堂上坐，旁坐一客，庭宇肅然。屋後高山巍峙，山脊多作礬頭平頂，錯列其間，山石皴紋採用長披麻法。兩山交接處，多作長林雜樹，於莊嚴雄偉中，特饒山林煙靄之勝，是為其畫特色。 &*Ch'-jan was a native of the Kiangsu province and was a monk at the K'ai-y'an temple in the Southern T'ang State. When that state fell to the Sung emperor in 975, he followed Li Y', its deposed ruler, to the Sung capital at K'ai-feng. He was a skilled landscape artist who carried the style of his elder contemporary Tung Y'an (fl. 937-975) on to fresh ground. Their names are linked with Ching Hao and Kuan T'ung as the great landscape masters of the tenth century. A narrow path follows a stream, winding its way deep into a mountain glen where four thatched huts hide away. A man sits in the center of an open room, a guest at his left. The dwelling seems to rest in respectful silence under the mountain's lofty dominance. Flat terraces and giant boulders pile up along the mountains ridges. The steep slopes are separated by tall trees gathered in the valleys. Through the massive and powerful mountain forms breathe evanescent forest mists. &*巨然（活動於10世紀後半），南唐鍾陵人，為開元寺僧。南唐亡後，隨後主李煜降宋，至汴梁。工畫山水，師事董源，善畫煙嵐景象，臻於妙境。與師齊名，並稱董巨。 緣溪小徑蜿蜒深入，山塢中有茅屋四間，一人堂上坐，旁坐一客，庭宇肅然。屋後高山巍峙，山脊多作礬頭平頂，錯列其間，山石皴紋採用長披麻法。兩山交接處，多作長林雜樹，於莊嚴雄偉中，特饒山林煙靄之勝，是為其畫特色。 (20110913)&* Juran was a native of Zhongling (modern Nanjing) and a monk at the Kaiyuan Temple. After the Southern Tang was vanquished, he followed its ruler, Li Yu (Houzhu), in surrendering to the Song and going to the capital of Bianjing. Juran was good at painting landscapes, studying with Dong Yuan and excelling at hazy and misty scenery that reaches a marvelous realm. He achieved fame equal to his teacher, so they became known together as “Dong-Ju.” A narrow path follows a stream winding its way deep into a mountain glen where four thatched huts are hidden. A man sits in the center of an open room with a guest to his side, and the dwelling seems to rest in respectful silence under the mountain’s lofty dominance. Flat terraces and giant boulders are piled along the mountain ridges, and steep slopes are separated by tall trees gathered in the valleys. The rocks and mountains are done in the long “hemp-fiber” method of texturing. Where the two mountains intersect are many different trees. In the dignified majesty is a special sense of mists surrounding mountains and forests, giving this painting its character. (20110913)
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- 國立故宮博物院
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