宋趙昌歲朝圖 軸

宋趙昌歲朝圖 軸

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後設資料

資料識別:
故畫000049N000000000
資料類型:
繪畫
著作者:
趙昌
主題與關鍵字:
奇石 茶花 年節 水仙 梅(白.紅.蠟梅) 牡丹
日期:
TIME STAMP:30-8月 -05
格式:
本幅 103.8x51.2公分&詩塘 30.9x51.6公分
關聯:
石渠寶笈續編(御書房),第四冊,頁1917 &故宮書畫錄(卷五),第三冊,頁48-49 &故宮書畫圖錄,第一冊,頁199-200 &「歲朝圖」上雖有趙昌的名款「臣昌」二字,但以筆墨畫風及苔石坡草等的畫法而論,則不似宋代風格(註1)。詩塘上乾隆皇帝題曰:「蓋畫幅本大,或有破損處,為庸賈割去,別署偽款,所存已非全璧。」而從畫幅邊緣裁切的不甚自然來看,當有此可能性。(註2) 幅中梅花、山茶、水仙和長春花,以硃砂、白粉、胭脂、石綠畫成,再用石青填底,色彩明麗,顯得富麗堂皇。其構圖特殊,由湖石和繁密交錯的花朵,佈滿整個畫面,絲毫不留空地,整齊嚴肅,極具裝飾的效果。在宋郭若虛的《圖畫見聞誌》中提及,南唐宮廷中有被稱為「鋪殿花」的繪畫作品,為宮院掛設之用,必需位置端莊,駢羅整肅,多不取生意自然之態(註3),而此幅作品的構圖命意正與之相吻合,可作為此一風格延續的代表。 趙昌(約10世紀末至11世紀初),字昌之,四川成都人。善畫花果,常於清晨朝露下,遶欄觀賞花卉,並即時描繪之,因自號「寫生趙昌」。然傳世的作品甚少,故已難於確認其繪畫風貌。(譚怡令) 註1:Flowers of the New Year's Day. Plum blossoms, camelias, narcissus, andothers by a rockery. Twospurious signatures. Ming decorative work; see James Cahill, An Index of Early Chinese Painters -T'ang, Sung, and Yuan (Berkeley & Los Angeles: University of California Press, 1980), p.60. 註2:國立故宮博物院編,《故宮名畫三百種》(臺北:國立故宮博物院,1959),第二冊,頁54。 註3:「鋪殿花」:「江南徐熙輩,有於雙縑幅素上畫叢艷疊石,傍出藥苗,雜以禽鳥蜂蟬之妙,乃是供李主宮中挂設之具,謂之鋪殿花。次曰裝堂花,意在位置端莊,駢羅整肅,多不取生意自然之態,故觀者往往不甚采鑒。」郭若虛,《圖畫見聞誌》卷六,收錄於《畫史叢書》(臺北:文史哲出版社,1974),第一冊,頁238。&趙昌(約十世紀末至十一世紀初),四川成都人。字昌之。善畫花卉,每晨朝露下,時遶欄諦觀,手中調彩色寫之,自號寫生,作品傳世甚少。 宋郭若虛「圖畫見聞誌」,有鋪殿花一條謂:「江南徐熙輩,於縑素上畫叢豔疊石,傍出藥苗,雜以禽鳥蜂蟬之妙,供宮中挂設。又有裝堂花,意在位置端莊,駢羅整肅,多不取生意自然之態。」蓋略同於今之圖案畫,本幅構景命意,或此一派之流衍。&Chao Ch'ang (style name Ch'ang-chih) was a native of Ch'eng-tu, Szechuan. A skilled painter of flowers, he got up early every morning, went to the balustrade, and carefully looked at the plants. Using his colors, Chao depicted what he saw and thus later adopted the sobriquet Hsieh-sheng (“Sketching from Life”). Unfortunately, his surviving works are extremely rare today. In Kuo Jo-hsu's Record of Experiences in Painting (1074), he included a section entitled “Arranging Flowers in the Palace Halls” in which he stated, “On fine silk to be hung in the palace, artists like Hsü Hsi of Kiangnan painted masses of flowers and layers of stones with herbs and sprouts next to them, as well as an assortment of birds and insects.” The paintings in another section, “Making Flowers for the Hall,” were meant to have dignified and balanced compositions, but lacked liveliness and naturalness. They were thus similar in spirit to decorative paintings still being produced today. This might have been the intent behind the composition of this work, suggesting the prevelance of this type of painting through the ages.
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國立故宮博物院

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