宋人倣張僧繇山水 軸
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- 資料識別：
- 故畫000134N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 主題與關鍵字：
- 石磴、棧道 江河、湖海 瀑布 高士（士人、隱士） 侍從（侍女、童僕） 房舍 橋 篷舟 亭
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 219.6x85公分、全幅 102公分
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1548&*故宮書畫錄（卷五），第三冊，頁112&*1.何傳馨，〈(原題宋人)仿張僧繇山水〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁260。 &*張僧繇，吳(今江蘇蘇州)人。梁天監中(502-518)為武陵王國侍郎。善道釋人物，所繪沒骨山水，於畫壇為絕詣，後人仿之者甚多。樓觀曾云：「梁天監中，張僧繇每於縑素上，不用墨筆，獨以青綠重色，圖成峰嵐泉石，謂之沒骨法。」此幅畫山石用顏色填染，不用墨筆皴擦，以丹朱青綠為主色，並用白粉烘雲點樹，故覺奇彩艷發，神氣飛揚，全幅散發著一種古厚沉鬱的氣氛。然其風格筆觸則似出於明末藍瑛一門之手。&*Chang Seng-yu was a native of Wu (modern Suchou, Kiangsu ) who served as Minister in the princedom of Wu-ling during the T'ien-chien era (502-518) of the Liang dynasty. He excelled at painting Taoist and Buddhist subjects as well as "boneless" (wash) landscapes. His style was frequently emulated by later artists. Lou Kuan commented, "When Chang Seng-yu put brush to silk, he did not use lines of ink, only heavy colors of mineral green for his compositions of peaks, springs, and stones in the so-called 'boneless' method." In this painting, the artist has likewise filled the mountains and rocks with washes of color. Instead of employing ink for the texture strokes, he has adopted cinnabar and mineral green as his primary colors, using mineral white to highlight the trees and clouds. Imbued with an unusually exquisite, ephemeral beauty, the entire work possesses an air of sedate and hoary tranquility. Judging from the style, it appears to have been done by a follower of the late Ming painter Lan Ying (1585-ca. 1664).&*故宮書畫圖錄，第二冊，頁279-280
- 管理權：
- 國立故宮博物院
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