清石谿茂林秋樹 卷
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- 資料識別：
- 故畫001094N000000000
- 資料類型：
- 繪畫
- 著作者：
- 石谿
- 主題與關鍵字：
- 竹 奇石 秋景 瀑布 傢俱（屏風） 蘆葦 行旅 松 茅草屋 楊柳 山徑 亭 芭蕉 橋 楓樹．槭樹 高士（士人、隱士） 侍從（侍女、童僕） 溪澗、湍泉
- 日期：
- TIME STAMP:17-10月-08
- 格式：
- 本幅 27.7x237.1公分&隔水一 10.7公分&隔水二 11.5公分&隔水三 9.7公分&隔水四 10.2公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈續編（重華宮），第四冊，頁1868&故宮書畫錄（卷四），第二冊，頁266&故宮書畫圖錄，第二十冊，頁201-204&石谿（1612--約1673）俗姓劉，字介丘，法名大杲，號髡殘、石禿、電住道人等。湖南武陵人。二十七歲出家為僧，清順治十一年（1654）赴南京大報恩寺，入藏社校刻大明南藏，與錢謙益、顧炎武交往，並與程正揆（1604--1676）論畫。順治十五年（1658），至幽棲山祖堂寺為住持以至於終。 石谿畫構景豐富繁密，與王蒙（1308--1385）相似，用筆蒼勁渾厚，墨色或重濁或清潤，率意自然，有「粗服亂頭」之稱。與漸江（1610--1664）、八大山人（1626--1705）、石濤（1642--1707）合稱明末四高僧畫家。 本幅前段著力於描寫茂林密樹，後段寫山石，兩段都無遠景，令人感覺置身於一片茂林巨石的景物之中。起首兩坡夾溪，林木蔥茂，用筆繁複，墨色清潤，部份樹葉用濃墨點染，樹石著淡赭、石綠，偶爾用重色敷填夾葉，憑添幾許秋意。畫中之景雖繁，但間以夾葉、溪水、瀑布，虛實相生，所以顯得密而不滯，豐富而多變化，是石谿盛年時期精心之作。（註）（何傳馨） （註）參見何傳馨，〈石谿及其茂林秋樹卷〉，《故宮文物月刊》第二卷第三期，（1984年6 月），頁96--101。& 髡殘（一六一二－一六七三），本姓劉，字石谿，一字介，丘號白禿、殘道人。年幼失恃，出家為僧，後遊歷諸方。畫山水，奧境奇闢，筆法深得王蒙意趣，亦善融和黃公望筆意。而禿筆用拙處，則為石谿自家面目。 本幅林木繁茂，枝幹多左偃，樹葉濃淡相間，佈滿畫面，畫中運用了十餘種畫葉手法，以墨點之單葉、勾勒之夾葉，交互為用，畫來密而不滯，豐富而多變化。 &Luxuriant Autumn Woods K’un-ts’an (1612-1673) Ch’ing Dynasty K’un-ts’an, also known as Shih-chi, was a native of Hunan province. He became a monk at the end of the Ming. Traveling extensively, his landscape paintings were noted for unique scenery and blunt brushwork. He followed the styles of the Yüan masters Wang Meng and Huang Kung-wang. The waterside pavilion, waterfall, path and cottage are placed along the hills of this lively composition. The trees are dense, painted in vivid ink tones. The tree trunks are slightly inclined and the leaves range from dark to light, covering almost all of the space. The leaves were done in more than ten different techniques, ranging from dots for single leaves to outlining for more complex ones. Their density adds vitality and variety to the work. & 石谿（西元一六一二－約一六七三年），僧，湖南武陵人。本姓劉，字介丘，號髡殘。幼而失恃，投龍山三家庵為僧，旋遊歷諸方。畫山水，奧境奇闢，筆法深得王蒙意趣。秋林、水亭、瀑布、幽徑、草堂，隨丘壑之起伏錯落畫中，緬邈幽深。固造王蒙堂奧，亦善融和黄公望之筆意。尚禿筆用拙，則為自家面目。本幅林木繁茂，枝幹大多左偃，樹葉濃淡相間，佈滿畫面，畫中運用了十餘種畫葉法，以墨點之單葉，勾勒之夾葉，交互為用，畫來密而不滯，豐富而多變化。&The monk Shih-hsi was a native Wu-liang in Hunan province. His family name was Liu and his style name was Chieh-ch’iu. Toward the end of the Ming dynasty (1638-1644), he became a monk at the Lung-shan San-chia monastery. He traveled throughout China and his landscape paintings are unique and exuberant. In brushwork, he followed the style of the Yüan dynasty (1279-1368) master Wang Meng. In this painting, the waterside pavilion, the waterfall, the path and the cottage are placed along the autumn hills of this lively yet solemn composition. The trees are dense, painted in vivid ink tones. The tree trunks are slightly inclined to the left and cover almost all of the pictorial space. Some leaves are painted in a single dot, while others are outlined in a detailed variety of shapes and colors. Here, Shih-hsi demonstrates his ability to evoke the styles of the Yüan masters Wang Meng and Huang Kung-wang. However, his use of a blunt brush is indicative of his own mature style.
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
