明項德新秋江雲樹圖 軸
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- 資料識別：
- 故畫000570N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 項德新
- 主題與關鍵字：
- 秋景 山徑 雲 寒林．枯樹 亭 欄杆 竹 瀑布 溪澗、湍泉
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 65x23公分、全幅 56.5公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁657&*故宮書畫錄（卷五），第三冊，頁426-427&*故宮書畫圖錄，第九冊，頁29-30&*1.傅申，盧素芬譯，〈傳陶復初畫〈秋林小隱〉應是明項德新所作 — 故宮藏畫鑑別研究之二〉，《故宮文物月刊》，第316期（2009年7月），頁70-82。 &* 項德新（西元一六二三生，卒年不詳）字復初，為項元汴從子。（一說為元汴子，非。盖其生年，遠在元汴卒年後也。）善山水，亦善寫生。流傳最少，海內得其片紙，珍如拱璧。 項德新筆墨雅澹中別有一種逸趣，學雲林能得其神髓而遺其形跡。此幅畫溪壑之一曲，亭樹淺湍，雲巖飛瀑，構景幽絕。陳奕禧跋中評云，高簡雅淡之情，見諸寄託，意不在畫而畫乃佳。 &*Hsiang Te-hsin was the nephew of the collector and connoisseur Hsiang Yüan-pien. His style name was Fu-ch’u. He excelled at painting landscapes, as well as birds and flowers. His extant works are considered today as rare as imperial jade. The refined and pale ink of Hsiang’s brush contains its own fluid quality. This work, inspired by Ni Tsan, has captured both the form and spirit of the Yüan master. Depicting a cove of a river with pavilion and trees nestled at the foot of a waterfall, the effect is of deep seclusion. The inscription by Ch’en I-hsi states that the traits of loftiness, simplicity, elegance, and blandness are all embodied in this work. The aim of the painter was not to produce a painting; he thereby was able to express these very exalted qualities in the work itself. &*項德新（約西元一五六一－一六二三年）字又新，號復初，因其齋名為「讀易堂」，又號讀易居士，為項元汴第三子。他不但富於收藏，也擅長繪事，風格乃是根植於文徵明的吳派傳統以及家中收藏的宋元古畫，頗受同代人推重。 此幅畫溪壑之一隅，亭樹淺湍，雲巖飛瀑，構景幽絕。筆墨雅澹中別有一種逸趣，學倪瓚能得其神髓而遺其形跡，畫法及意境遠超其父項元汴。 &*Xiang Dexin (style name Youxin, sobriquet Fuchu) had a sobriquet named after his studio, “Hall of Reading the Yijing.” The third son of Xiang Yuanbian, he not only had a major art collection, he also was a gifted painter himself. His style was firmly rooted in the Wu school tradition of Wen Zhengming. Contemporaries also admired his vast collection of Song and Yuan paintings. This work shows a river in a valley with a waterside pavilion, trees, and shallow waters. A cascade emerges from the clouds and cliffs, forming a secluded scene. The elegant brush and ink have an untrammeled quality. Xiang studied Ni Zan’s style of the Yuan to achieve both its spirit and appearance, his art methods and lyrical scenery exceeding those of his father, Xiang Yuanbian.
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 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
