元黃公望富春山居圖 卷
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- 資料識別：
- 故畫001016N000000000
- 資料類型：
- 繪畫
- 著作者：
- 黃公望
- 主題與關鍵字：
- 山徑 江河、湖海 高士（士人、隱士） 漁夫、船夫 百姓 寒林．枯樹 松 鴨．鳧 水榭 房舍 亭 橋
- 日期：
- 元順帝至正十年（1350）
- TIME STAMP:26-9月 -05
- 格式：
- 本幅 33x636.9 公分&隔水一 34.3x12.9 公分&隔水二 33.5x13.5公分&拖尾 32.5x324.8公分
- 關聯：
- 石渠寶笈三編（乾清宮），第二冊，頁518&故宮書畫錄（卷四），第二冊，頁133-138&故宮書畫圖錄，第十七冊，頁289-296&黃公望（西元一二六九－一三五四年），富陽人。字子久，號一峰，又號大癡道人，晚號井西道人。山水以董源為宗，為元四大家之冠。 此卷為僧無用所作，於至正七年（一三四七）起草，其年正八十歲。得暇即畫數筆，其中因曾外出旅行，至至正十年（一三五０），尚未完成。本卷筆端變化鼓舞，聖而神矣。&Huang Kung-wang, a native of Kiangsu province, was a Taoist who, like his interest in calligraphy and music, practiced painting on the side. He specialized in landscapes and his works are based on the style of Tung Yuan, the famous 10th-century artist of rolling southern landscapes. Along with Wu Chen, Ni Tsan, and Wang Meng, Huang is considered one of the Four Great Masters of the Yuan dynasty. As the eldest, he is revered for his highly personal, calligraphic approach to painting. Depicted here is an idealized panorama of the Fu-ch'un mountains, west of Hangchow, to which Huang returned in his later years. The composition was first laid out in light ink and then finished with applications of dark and dry brushwork. Finally, brush dots were distributed across the work as abstracted accents for detail. Buildings, tree limbs and foliage were reduced to the simplest of forms. The brushwork also evokes Tung Yuan's "hemp-fiber" texture strokes, which is especially suited to the rolling landscapes of the south. Thus, this work represents the ideal of scholar art. This depiction of the Fu-ch'un mountains was painted for a fellow Taoist named Master Wu-yung and represents Huang Kung-wang's greatest surviving work. In his inscription, he writes that he created the design in a single outburst of inspiration. He then worked on the picture on and off when the mood struck him from about 1347 to 1350.&蒙元時道教頗盛，讀書人常受庇護。黃公望在仕途發展希望破滅，結束牢獄之災後便入全真教為道士，在江南地區傳道，與曹知白、倪瓚都有交情。他也教人繪畫，其《寫山水訣》可能即為講義。他的山水畫深受趙孟頫影響，但加上他對山水內在生氣的獨到領悟。本卷即為其中的巔峰之作，費時四年而成，其間修改痕跡仍存，更添其變化生發之趣。畫為鄭無用作，他也是道士，此可視為兩人論道的媒介。&The Yüan dynasty was a time when Taoism flourished and gave shelter to many scholars. Huang Kung-wang, having spent time in prison and with his hopes of an official career dashed, became a Taoist of the Full Truth Sect. He taught the Tao in the south-central Kiangnan region and became friends with such scholar-artists as Ts'ao Chih-po and Ni Tsan. He also taught painting, and "Secrets of Landscape Painting" may reflect his teachings. His landscape painting was influenced by Chao Meng-fu and his own enlightenment of the land. This scroll's depiction of fishermen as seen in his travels represents the culmination of his artistic career. Taking 4 years and finished in 1350, traces of his retouching are still seen, adding a dimension of time and thought. Done for Cheng Wu-yung, also a Taoist, it serves as a medium between the two.
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- 國立故宮博物院
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
