宋人寒林待渡 軸
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- 資料識別：
- 故畫000214N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 主題與關鍵字：
- 冬景（雪景） 寒林．枯樹 松 江河、湖海 高士（士人、隱士） 漁夫、船夫 侍從（侍女、童僕） 百姓 騾．驢 茅草屋 橋 籬笆、圍牆 漁船
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 136.8x99.7公分、全幅 113公分
- 關聯：
- 石渠寶笈初編（養心殿），下冊，頁669 &*故宮書畫錄（卷五），第三冊，頁121 &*故宮書畫圖錄，第二冊，頁315&*河岸石坡上，二松勁挺，伸指布爪，如虯龍騰躍，其後枯枝雜樹為從。山坳間有簡陋的茅舍人家，另一邊艤舟泊岸，一人柱杖，一人驅驢將渡，。中景留空，稍遠處平坡迤邐，一角有籬院茅舍，屋中二人對飲。山勢漸遠，遠山輪廓高低起伏的隱沒在煙嵐中。全畫除了前景松石較繁重緊湊之外，皆以空疏簡淡之景，表現寒冬枯寂的情調。 畫無款印，有明項元汴（1525--1590）、清梁清標（1620--1691）收藏印。 十至十一世紀，北方畫家間有一類以寒林為主題的山水畫，代表畫家首推五代李成（919--967），宋人指出他的畫風特色為: 「氣象蕭疏，煙林清曠，毫鋒穎脫，墨法精微」。（註）不過世傳李成的寒林圖都作近景，松與枯樹為全幅的主景，此幅作闊遠之景，坡石畫輪廓及皴染都接近郭熙（活動於十一世紀後半），構圖也採中軸式，不過與郭熙〈早春圖〉比較，構圖較空疏，前景大石並用斧劈皴法，顯示南宋以後學李郭一派的畫風。 （註）郭若虛，《圖畫見聞誌》，收錄於于安瀾編，《畫史叢書》（上海: 上海人民美術出版社，1962），第一冊，卷一，頁12，〈論三家山水〉。參見李霖燦，〈寒林一系圖畫的初步探討〉，收錄於李霖燦，《中國名畫研究》（台北:藝文印書館，1973），頁275--280。&*霜雪染白了大地，僅有後凋的古松與落葉樹挺立著。有行旅兩人，驅趕著驢子走向渡頭。畫中漬染部分甚多，烘托出霜天的寒冷。若從坡石的皴染法，與枯枝的蟹爪法來看，是出自郭熙一派的畫家。&*Frost and snow cover the ground. Twisted ancient pines and leafless trees stand stiffly in the cold. Two travelers with their donkeys are about to board the ferry. Many areas of the painting are covered with wet washes, which make the blank areas of the silk convey the idea of snow. Judging from the method of texturing and shading the rocks and banks, and the rendering of the bare branches as crab-claws, the painter belonged to the tradition established by Kuo His (ca. 1020-1100) in the eleventh century. &*五代、北宋之際，北方出現了以寒林為主題的山水畫作，代表者首推五代的李成（919－967），其畫「氣象蕭疏，煙林清曠，毫鋒穎脫，墨法精微」。不過世傳李氏所作的〈寒林圖〉，多是以松與枯樹為主的近景畫。此幅作闊遠之景，霜雪大地，前景古松與樹木挺立，行旅二人驅趕著驢子走向渡口。畫中以漬染烘托出霜天的寒冷。從坡石的皴染與蟹爪狀的枯枝來看，其當出自南宋以後郭熙一派畫家之手。(20110913)&* The theme of wintry trees appeared in landscape paintings of China’s north during the period between the Five Dynasties and Northern Song. The representative painter of this subject was Li Cheng (919-967) of the Five Dynasties, his works being described as follows: “In an atmosphere desolate and expansive, misty trees are pure and spacious. The tip of the brush is exposed and the method of ink superbly fine.” However, most surviving paintings on “wintry trees” attributed to Li Cheng portray close-up scenes of pines and withered trees. This work instead features distant and expansive scenery of frost and snow covering the land. In the foreground stand ancient pines and leafless trees as two travelers with their donkeys make their way to the ferry point. Many areas of the painting are covered with wet washes that convey the idea of wintry cold on a frosty day. Judging from the texturing and washes of the slopes and the withered “crab-claw” branches, this work appears to have come from the hand of a post-Southern Song painter working in the school of Guo Xi.(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
