宋人岷山晴雪 軸
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- 資料識別：
- 故畫000145N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 主題與關鍵字：
- 冬景（雪景） 松 溪澗、湍泉 瀑布 仕女 侍從（侍女、童僕） 寒林．枯樹 騾．驢 寺廟 橋 傢俱（屏風） 石磴、棧道 江河、湖海 高士（士人、隱士） 孩童 百姓 房舍 臺閣 茅草屋 亭 籬笆、圍牆
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 115.1x100.7公分、全幅 116公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁669 &*故宮書畫錄 (卷五)，第三冊，頁118-119 &*故宮書畫圖錄，第二冊，頁305-306 &*Tall pines grow on the right bank of a stream, while on the left repeated ranges of mountains rise, penetrated by a twisting path. Scattered through the scene are a bridge, travellers, buildings, trees, a temple, women and children, and monks. The large waterfall, rushing stream, misty atmosphere, and patches of light create a strong feeling of melancholy. The brushwork, in its strength and vigor, is clearly in the tradition of Kuo Hsi's 1072 "Early Spring". The only important changes here are the placement of the major mountain to one side rather than on the central axis and the increased size of the foreground trees, which may indicate this as a Northern style work produced in the Southern Sung (1127-1279).&*1.朱惠良，〈宋人岷山晴雪〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁156-157。 2.朱惠良，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁23。 3.本社，〈宋人岷山晴雪〉，《故宮文物月刊》，第44期（1986年11月），封底裡。 4.朱惠良，〈宋人岷山晴雪圖〉，《故宮文物月刊》，第100期（1991年7月），頁81。 5.陳韻如，〈岷山晴雪〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化•書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁394。&*無作者款印。一溪兩岸。岸之右高松卓立，岸之左層山疊起，一徑逶迤。溪 橋、行旅、閣榭、寺宇、婦幼、僧侶點綴其間。飛泉、鳴澗、煙靄，穿插掩映，極見幽深蕭遠。畫筆全仿郭熙早春圖，其嚴謹雄勁，去郭熙不遠。惟主山旁移，主樹增大，或為宋朝南渡後中國北方郭熙一派之中堅。&*畫中山石以轉折劇烈的筆墨描寫輪廓，再以濃淡層次豐富的染暈處理質面，此與郭熙〈早春圖〉筆墨手法、山石造型相近。但山體結構比〈早春圖〉分塊更多，線條亦更具轉折筆意，顯然是郭熙風格的延續。部份用筆與金代山水相近，此畫所顯示的後郭熙風格顯然已跨越政治疆域，而能幅散至金人所在的北方地區。畫中細節頗多，屋舍建築乃至人物活動等，堪稱北宋大觀式山水於十三世紀的再興。(20101015)&*The rocks and landscape forms in this painting reveal dramatically twisting outlines of brush and ink, to which copious layers of light and dark ink wash tones were added to create textured surfaces. The effect is very similar to the mountain forms and techniques of brush and ink in Guo Xi’s “Early Spring.” However, the structural composition of the mountains are more fragmented than in “Early Spring,” while the lines also twist and turn in a more painterly manner, indicating that this is an extension of Guo Xi’s style. Some of the brushwork is also similar to that of Jin dynasty landscapes, indicating that the Guo Xi style in this painting had obviously crossed political boundaries and spread to the north occupied by the Jin dynasty. This work is also quite detailed, the buildings and figural activities reflecting a thirteenth-century revival of the Northern Song monumental style of landscape painting.(20101015)
- 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
