南朝宋陸探微五岳圖 卷
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- 資料識別：
- 故畫001378N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 陸探微
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 隔水一 15公分、引首 52.2x96.5公分、隔水二 15.8公分、本幅一 61x194.3公分、隔水三 61x19.7公分、本幅二 61x194.1公分、隔水四 61x19.6公分、本幅三 61x193.5公分、隔水五 16x19.1公分、本幅四 61x193.5公分、隔水六 16x19公分、本幅五 61x191.5公分、隔水七 61x17.3公分、拖尾一 61x56.6公分、隔水八 16.3公分、拖尾二 61x136.1公分
- 關聯：
- 石渠寶笈初編（重華宮），下冊，頁781-782&*故宮書畫錄（卷八），第四冊，頁29&*故宮書畫圖錄，第十五冊，頁9-14&*陸探微，南朝，宋時吳（今江蘇蘇州）人。明帝（西元四六五至四七二年）時，以善畫人物故實得名。畫有「六法」，探微得備。其人物秀骨清像，生動自然，與張僧繇、顧愷之同為南朝時代大畫家。本卷畫五段，依序為西嶽華山、北嶽恆山、東嶽泰山、南嶽衡山、中嶽嵩山。畫中山陵高聳，樹木大都作秋景紅葉，畫中高士，或對語、或攜琴訪友，筆墨濁重欠清雅。按陸探微畫，北宋宣和畫譜僅載十幅，舉世今恐無存。本幅原籤題陸探微畫，畫上所謂宋徽宗題識均存疑。&*Lu T'an-wei was a native of Wu (modern Soochow, Kiangsu). He served in the court of the Emperor Ming (r. 465-472 A.D.). He was famous for his figure paintings and his illustrations of historical anecdotes. Later critics have said that Lu's style embodied the "Six Principles" of painting propounded by the sixth century art critic Hsieh Ho. Along with his contemporaries Chang Seng-yu and Ku K'ai-chih, he is considered one of the leading painters of his period. This handscroll is divided into five sections depicting five peaks: the western peak, Hua Mountain; the northern peak, Heng Mountain; the eastern peak, T'ai Mountain; the southern peak, Heng Mountain, and the central peak, Sung Mountain. Each lofty mountain dominates the surrounding landscape. The leaves on most of the trees have turned to autumn red. Scholars sit and converse, one has brought a lute with him as he visits his friends. The brush and inkwork are muddled and lacking in grace. The Sung dynasty (960-1279) book, the Hsüan-ho Catalogue of Painting, lists only ten existing works by Lu T'an-wei. There are unfortunately no genuine works by this artist currently extant. This painting was attributed to Lu T'an-wei in a dubious inscription said to be by the Sung Emperor Hui-tsung.
- 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
