藝林集玉 冊 無款秋溪待渡圖
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- 資料識別：
- 故畫001296N000000002
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 主題與關鍵字：
- 秋景 溪澗、湍泉 橋 漁夫、船夫 亭 房舍 騾．驢 松 行旅 寒林．枯樹 欄杆
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 29x54.4公分、全幅 63x84.5公分
- 關聯：
- 故宮書畫錄（卷六），第四冊，頁256&*巨石旁，二松挺翠，岸際兩人負行囊待渡，舟子撐篙漸至。石後屋宇數間錯落有致，主僕五人郊遊渡橋而歸。茅亭左側，水聲淙淙，若泉若瀑，數折垂下，屋後山巒橫塘，半為雲煙所掩。畫中神采氣息，頗有米芾（1051-1107）所述：「峰巒出沒，雲霧顯晦，不裝巧趣，皆得天真。」的神韻。 幅中松針以墨、汁綠畫成，再以淡墨及綠烘染，取法與李唐（約1049－1130後）〈萬壑松風〉之松樹脈息相通；山石造型圓渾不露圭角，帶擦帶皴，筆重而不滯，其法則可得自關仝（西元10世紀）〈秋山晚翠〉；餘雜樹畫法及全幅墨層層托染，氣息與郭熙（11世紀）〈早春圖〉最為接近。通幅筆墨設色含蓄蘊籍，技法上融合了北宋諸家特質而又能表現出獨自風格，是難得的佳作。 本幅無作者款印，舊籤題為秋景山水，然而從畫樹木和染色，以及從主題觀察，或是描寫春郊行遊的景色。（許郭璜）&*1.許郭璜，〈宋人秋溪待渡圖〉，收入國立故宮博物院編，《宋代書畫冊頁名品特展》（臺北：國立故宮博物院，1995年初版一刷），頁253-254。 2.許郭璜，〈「七十件書畫冊頁名品特展」精選(二) — 宋人秋溪待渡圖〉，《故宮文物月刊》，第147期（1995年6月），頁100-102。 3.陳韻如，〈秋溪待渡〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化•書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁358。&*巨石旁，二松挺翠，岸際二人負行囊待渡，舟子 篙漸至。石後屋宇數間，錯落有致。主僕五人春郊遊罷，渡橋而歸。茅亭左側，水聲淙淙，若泉若瀑，數折而下，屋後山巒橫亙，半為雲煙所掩。 本幅為「藝林集玉」冊第二幅。舊題秋景山水，然以漬染顏色和畫枝葉茂密言，或寫春遊之景。而依佈局端整平實，筆墨設色含蓄蘊藉看，儼然有北宋遺韻。&*By a large rocky promontory where two tall pines grow, two men stand at the shore with belongings as they wait for a ferry being gradually poled to them. Behind the promontory are scattered buildings. A master and four retainers return from a spring outing and cross a bridge. To the left of the thatched pavilion behind them emerges the sound of a winding stream tumbling down below. The hills are half-concealed by clouds and mist. This is the 2nd leaf from the album Collected Gems of Art. The original title slip reads Autumn Landscape, but the colored washes and dense leaves suggest a spring outing instead. The balanced, centered composition as well as the reserved use of brush and ink indicate a Northern Sung (960-1126) style.&*右側繪雙松聳峙坡岸，松下挑擔二人等待渡江。松樹掩映中景，則是一處大型院落，院落門徑隱藏在山石之後，兩人騎驢與侍僕數人正要從橋上前往探訪。此開已融入多位北宋山水名家風貌。 畫中雙松與李唐〈萬壑松風〉描繪松葉手法相近； 山石的處理則講究煙氣迷茫，質面皆不見皴擦筆蹤，兼具郭熙、王詵山水畫風特質。畫中遠景煙氣迷茫，但對澗水湍石的描繪仍具謹實態度，應屬兩宋之際山水面貌。(20101015)&*Depicted on the right here are two pines standing tall on a foreground bank, and underneath the pines are two people with poles as they wait for the ferry to cross the river. The pines mask some of the scenery in the middleground with a large courtyard complex, the gate to which is hidden behind the mountain rocks. Two figures ride donkeys as they cross the bridge making their way to the buildings. This album leaf already incorporates the stylistic features of several major Northern Song landscape painters. In terms of the technique for rendering the pine needles, the two pines here are similar to those in Li Tang’s “Wind in Pines Among a Myriad Valleys.” The treatment of the rocks also reveals particular attention to the hazy use of mists, the facets of land not revealing traces of brushwork for texturing. The painting combines the landscape characteristics associated with the works of Guo Xi and Wang Shen of the Northern Song. The misty use of haze in the distant scenery contrasts with the meticulous rendering of water and rocks, thus demonstrating a landscape style combining elements of both the Northern and Southern Song sometime during the mid-twelfth century.(20101015)
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- 國立故宮博物院
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
