宋法常寫生 卷
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- 資料識別：
- 故畫000989N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 法常（Fachang）
- 主題與關鍵字：
- 牡丹 蓮荷 茶花 芙蓉 石榴 柿 板粟 蔬菜 南瓜 筍 枇杷 蓮蓬 菱角 蘿蔔 藕 瓜 蔥 小黃瓜 竹 八哥（鴝鵒） 雉（錦雞．雉類） 斑鳩 麻雀 絲瓜 石榴
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 宋度宗咸淳元年（1265）
- 格式：
- 本幅 44.5x1017.1公分、隔水一 13.9公分、隔水二 14.5公分、拖尾 44.2x85.2 公分
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁1048 &*故宮書畫錄（卷四），第二冊，頁38-39 &*故宮書畫圖錄，第十六冊，頁57-62&*1.〈宋法常寫生〉，收入國立故宮博物院編輯委員會編，《牡丹名畫特展圖錄》（臺北：國立故宮博物院，1987年四月初版），頁38。 &* 法常（約十三世紀），四川人，俗姓李，號牧谿，生卒年不詳。住天台山萬年寺，無準弟子，畫龍虎、猿鶴、蘆雁、山水、人物，皆隨筆墨而成。筆意簡當，不費裝飾，遺跡多流日本。 此巨卷為法常墨戲花卉蔬果翎毛等，其狀物寫生，殆出天巧，一花一葉，皆極精緻而無刻畫拘板之跡。起首即畫沒骨水墨牡丹，幅中之花瓣及葉之重疊處皆以留白，取筆布墨，頗為雅緻，於諸家町畦之外，又能出以新意。 &* In this handscroll of painting from life, the monk Fa-ch’ang has depicted all manner of flora and fauna. Exceedingly lifelike, the flowers are drawn in great detail without appearing mannered. Executed essentially in the “boneless” (or unoutlined ) method, the petals and leaves of the ink peony depicted here overlap, separated by small unpainted interstices. The ink is applied with sophistication and originality. Fa-ch’ang, a disciple of the Buddhist master Wu-chün, lived at the Wan-nien (Ten-Thousand-Year) Temple at Mount T’ien-t’ai. In addition to his paintings of landscapes and human figures, he also made renditions of dragons, tigers, apes, cranes, and wild geese. His brushwork is simple and not overly done. Most of his works are preserved in Japan. &* 法常（西元十三世紀），四川人，號牧谿。居天台山萬年寺，善畫龍虎、猿鶴、人物。筆墨簡潔，不假裝飾，作品多數流傳於日本。 此卷墨繪花卉五種、蔬果十六種，及翎毛小景等。通幅俱以沒骨法寫生，雖觀察入微，但筆致靈動，了無板刻之跡。款署：「咸淳改元（一二六五）牧谿。」拖尾并有項元汴、僧圓信、查士標題跋，與吳寬、董棨、梁章鉅等人之收藏印。 &* Fa-ch’ang, a native of Szechwan, is also known as Mu-ch’i. He was a monk and resided at the Wan-nien Temple on Mt. T’ien-t’ai, painting dragons, tigers, gibbons, cranes, and figures. His use of brush and ink was pure and unadulterated. Most of his surviving works are now found in Japan. This handscroll in monochrome ink includes 5 kinds of flowers, 16 vegetables and fruits, and birds and intimate scenery. Done in the “boneless” (ink-wash) sketching style, even close examination of the brushwork reveals no trace of stiffness. Signed “Mu-ch’i” and dated to l265, at the end are colophons by Hsiang Yüan-pien, Yüan-hsin, and Ch’a Shih-piao and collector seals of such figures as Wu K’uan, Tung Ch’i, and Liang Chang-chü. &*法常（約13世紀），生卒年不詳，四川人，俗姓李，號牧溪。住天台山萬年寺，無準弟子，善畫龍虎、猿鶴、蘆雁、山水、人物，筆意簡當，不費裝飾，遺蹟多在日本。 此長卷為法常墨戲，畫各種花卉、蔬果、翎毛等。其狀物寫生，殆出天巧，一花一葉，皆極精緻而無刻畫拘板之跡。起首沒骨水墨牡丹，幅中之花瓣及葉之重疊處皆留白，取筆布墨，頗為雅緻，於諸家町畦之外，又能出以新意。 (20110913)&*Fachang (birth and death dates unknown), a native of Szechwan, had the secular surname Li and the sobriquet Muqi. He was a monk residing at the Wannian Temple on Mt. Tiantai and a disciple of the famous abbot Wuzhun, painting dragons and tigers, gibbons and cranes, reeds and geese, landscapes, and figures. His use of brush and ink was pure and unadorned, with most of his surviving works now found in Japan. In this handscroll of ink play by Fachang, he has depicted all manner of flora and fauna. Sketched from life with exceeding directness and originality, each of the flowers and leaves is rendered in great detail without appearing mannered in the least. Executed essentially in the “boneless” (wash) method, the petals and leaves of the ink peony depicted here overlap, separated by small unpainted interstices. The ink is applied with sophistication and originality. (20110913)
- 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
