宋李成寒江釣艇 軸
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- 資料識別：
- 故畫000036N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 李成（Li Cheng）
- 主題與關鍵字：
- 冬景（雪景） 松 耕織漁獵 漁船 寒林．枯樹 溪澗、湍泉 江河、湖海 瀑布 漁夫、船夫
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 170x101.9公分、全幅 116公分
- 關聯：
- 故宮書畫錄（卷五），第三冊，頁36-37&*故宮書畫圖錄，第一冊，頁149-150&*1.許郭璜，〈宋李成寒江釣艇〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁19-22。 2.〈北宋李成寒江釣艇圖〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁212。 &*李成（西元916—967年），字咸熙。他是唐朝皇室的後裔，本住長安，唐末遷移到青州（今山東益都）。他的性情放蕩不羈，喜好喝酒、吟詩，擅長山水畫。山泉從懸崖上奔瀉而下，幾株古松參差挺峙。白雪覆蓋著大地，黝黑之中，顯得天地沉陰，江流寒凍，而有一個漁人在寒江中獨釣，善於形容寒意。山石皴染有如雲狀，圓渾厚重。用筆常扭轉運行，速度頗快，甚為粗放活潑。漁翁、小船的用筆全中鋒，細密穩健。 &*Above a river bank, a waterfall cascades into the depths of a ravine. Several pines rise up from the bank above an old man who contentedly fishes the wintry waters. The land is covered by snow and the dark sky appears foreboding. The washes of texture strokes that define the rocks and mountains are effervescent, yet full and voluminous. The use of the brush in describing the trees and outlines of the rocks is animated and lively , while the renditions of the fisherman and skiff are steady. The artist here was obviously familiar with the style of Li Ch’eng and Kuo His (fl.11th c.) known as Li-Kuo. This painting bears neither seal nor signature of artist and has been traditionally attributed to Li Ch’eng. Some modern scholars believe that it might be from the hand of the Li-Kuo School painter Chu Te-jun (1294-1365) of the Yüan dynasty. &*李成（西元九一六—九六七年），唐朝皇室後裔，五代山東人。五代北宋初為水墨山水畫成熟時期，李成的松石平遠，富呎尺千里氣象。與北方荊浩、關仝、范寬，南方董源、巨然發展成兩大山水畫系。畫中高山飛瀑，巖上老松偃蓋。前景巨松挺立，漁人寒江獨釣。山石皴染如雲狀，受北宋郭熙山水畫皴法影響。然用筆活潑快速，不完全拘泥於物象。由畫風及題跋書風來看，應可接受為元人李郭畫風作品。 &*Li Ch’eng, a T’ang imperial descendant, was a native of Shantung. Ink landscape painting peaked in the Five Dynasties and early Sung, with Li’s level-distance pines and rocks having great distance. With such northern artists as Ching Hao, Kuan T’ung, and Fan K’uan, they formed a great landscape tradition. The tall peak with a cascade here is dotted with old pines and craggy forms. Great pines stand in front, where a fisherman is alone on the cold river. Earthen forms, textured and washed into cloud-like shapes, reflect the later influence of Kuo Hsi’s texture method. The vigorous, quick brushwork also does not fully adhere to natural forms. Thus, the painting and inscription style suggest a Yüan (1279-1368) work influenced by the Li-Kuo style. &*李成（916－967），唐朝皇室後裔，山東人。五代至北宋初，李成的松石平遠，富呎尺千里氣象，與北方的荊浩、關仝、范寬，以及南方的董源、巨然發展出中國水墨山水畫的兩大系統。 畫中高山飛瀑，巖上老松偃蓋。前景巨松挺立，漁人寒江獨釣。山石皴染如雲，受北宋郭熙山水畫皴法影響，然用筆活潑快速，不完全拘泥於物象。由畫風及題跋書風來看，推測為元人李郭派的作品。(20110913)&*Li Cheng, a descendant of the Tang dynasty imperial clan, was a native of Shandong first active in the Five Dynasties period. From the Five Dynasties to early Song dynasty, Li’s level-distance renderings of pines and rocks, with their atmosphere of great distance, formed part of the major northern tradition of Chinese ink landscape painting along with such northern artists as Jing Hao, Guan Tong, and Fan Kuan, in contrast to the southern tradition of Dong Yuan and Juran. In this painting is a tall peak and a cascade with old pines dotting the craggy forms. Great pines stand in front, where a fisherman is alone on the cold river. Earthen forms, textured and washed into cloud-like shapes, reflect the later influence of Guo Xi’s texturing method. The vigorous, quick brushwork also does not fully adhere to natural forms. Thus, the style of the painting and inscription suggest a Yuan dynasty artist influenced by the Li-Guo School. (20110913)
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- 國立故宮博物院
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