宋燕文貴奇峰萬木 冊頁

宋燕文貴奇峰萬木 冊頁

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資料識別:
故畫001245N000000002
資料類型:
繪畫
著作者:
燕文貴
主題與關鍵字:
格式:
本幅 24.5x26公分
對幅 24.5x26公分
全幅 39.3x35.7公分
關聯:
石渠寶笈續編(御書房),第四冊,頁2056
故宮書畫錄(卷六),第四冊,頁210
本幅畫高山景色,近景由主山與兩側坡石構成,岩石向兩側與前方開面,以橫斜方向的皴擦,表現不同的質地和凹凸深淺的層次。其上林木蓊鬱,因在高山之上,盡是松杉一類的針葉木,間雜幾株深墨密點之樹,幽深鬱密,若層層屏障,高低參差,與遠山遙相呼應。遠山都在雲氣之上,左側群峰聳峙,如列柱插天,右側對應前景山凹處,再起數峰,漸遠漸小漸淡,而有無窮深遠之勢。畫無款印,現代學者大多認為是李唐(約1049--1130),或南宋學李唐者的作品,與活動於北宋時期的院畫家燕文貴(約967 --1044)無關,舊籤題不確。(註)從山石的造形,樹法,點苔來看,與本院藏李唐的名作「江山小景」相似,不過染色較淡,墨筆皴擦歷歷可見,勾勒山石輪廓及畫樹點葉的用筆較為柔和,可能是南宋初,受李唐影響的畫家的精心之作。燕文貴,浙江吳興人,北宋前期畫院畫家,長於山水,兼善人物、界畫。山水多作巨嶂高壁,人物,樓觀布置精巧,號為「燕家景」。(註)參見James Cahill, Chinese Painting, (Geneva: Skira, 1960 ),p.40 。鳩田英誠,〈燕文貴之傳稱作品〉,《美術史》,101 號(1976),頁47。鈴木敬著,魏美月譯,〈試論李唐南渡後重入畫院及其畫風之演變(下)〉,《故宮季刊》,第十七卷第四期(1983),頁72--73。
燕文貴(西元九六七至一○四四年),浙江吳與人。原隸軍中,太宗朝退伍,在京師(河南開封)隨郝惠學書,被畫院待詔高益發掘,薦入朝廷,補圖畫院祗侯。善畫山水、人物、舟車,尤善於畫四季景物,清雅可愛,號為「燕家景」。高山景色,遠山皆在雲氣之上,近景祇露山巔。畫山畫樹,筆法與院藏李唐江山小景卷甚為接近。惟樹木幹與葉之用筆,及設色情況,較江山小景卷稍覺柔和。當係屬同一畫風之作品。為宋人合璧畫冊中之一開。
Yen Wen-kuei came from the Wu-hsing district of Chekiang, During the reign of Emperor T'ai-tsung (967-998) he was discharged from military service and started to learn painting under Ho Hui. His abilities were noticed by the academician Kao I, who then introduced him at court. Yen was then appointed an attendant in the Painting Academy. He was a capable landscapist, and also depicted figures, animals, boats and vehicles. However, he specialized in painting the four seasons. His style was refined, delicate and charming, and he was given the nickname "Master Yen the Landscapist."In this scene of lofty mountains, the distant peaks are seen emerging above the clouds, while only the very tops of the foreground mountains are visible. The method of painting mountains and trees is very similar to that found in Li T'ang's (1049-1130) handscroll "Small Scene of River and Mountains." but the rendering of the tree trunks and branches and the use of color are softer in this album leaf. "Strange Peaks and Myriad Trees" is a leaf in the album Sung-jen ho-pi hua, where it is labeled as a painting by Yen Wen-kuei.
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