宋范寬雪山蕭寺圖 軸
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- 資料識別：
- 故畫000824N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 范寬
- 主題與關鍵字：
- 冬景（雪景） 溪澗、湍泉 寒林．枯樹 山徑 行旅 寺廟
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 182.4x108.2公分、詩塘 27.8x107.7公分、全幅 122.5公分
- 關聯：
- 石渠寶笈三編（延春閣），第三冊，頁1376 &*故宮書畫錄（卷五），第三冊，頁39-40 &*故宮書畫圖錄，第一冊，頁163&*1.林莉娜，〈宋范寬雪山蕭寺〉，收入林莉娜、張華芝編，《冬景山水畫特展圖錄》（臺北：國立故宮博物院，1989年元月初版），頁55。 &* 林巒積雪，萬木俱凋，寒氣逼人。小徑蜿蜒，幽谷深邃處寺宇森列。幅中枯樹偃仰稀疏，樹幹矗立，堅硬如鐵，枝枒四出，挺如劍戟，畫法至為蒼古。雖然詩塘王鐸的題跋稱此畫出自范寬之手，然本幅無款印，筆墨亦與范氏不類，應為後人所為。 范寬（十－十一世紀），陝西華原人。本名中正，字仲立。性寬厚有大度，時人稱為范寬。山水師李成、荊浩，但自立新法，為北宋初年的山水畫大家。 &* Snow covers the forests and mountains in this painting with many craggy trees for a bone-chilling effect. A winding path leads into a steep valley to the left, where a cluster of temple buildings are seen. The thick, twisting trunks of the leafless trees appear as solid and stiff as iron, and the branches project in all directions like swords and lances for a solemn, archaic brushwork. Although the later inscription by Wang T’o claims that this came from the hand of Fan K’uan, it bears no seal or signature of the artist. The brushwork also differs from that of Fan, probably representing a later interpolation. Fan K’uan followed the styles of Li Ch’eng and Ching Hao but developed his own, becoming a great landscape painter of the early Sung. &* 范寬（10世紀下半葉），華原人、字仲立，本名中正。性寬厚有大度，故時人目之為范寬。山水始師李成，又師荊浩，後乃自立新法。 峰巒雪積，幽谷深邃處寺宇森列。但見萬木俱凋，樹幹矗立，堅硬如鐵，樹枝四出，挺如劍戟。枯樹畫法，偃仰稀疏，最難得蒼古，而本幅足為表率。舊傳此幅出自范寬手筆。詩塘見王鐸評此畫云：畫之博大奇奧，氣骨玄邈，用荊關董巨，運之一機，而靈蘊雄邁，允為古今第一。 &* A cluster of temple building is nestled in the forest of a narrow valley high among snow-covered mountains. Branches projecting like so many swords and lances, the leafless forms of the trees are imbued with the strength of iron. It is extremely difficult to achieve an effect of both verdancy and hoariness when depicting the upward and downward thrusting of the boughs of such withered trees, but this work is an exemplar of this technique. Although the painting is unsigned, but traditionally attributed to Fan K’uan, the inscription above it by Wang To (1592-1652) reads, “The depths of this painting hold the articulation of the ethereal and the face of the hidden. Ching Hao, Kuan T’ung. Tung Yüan, and Chü-jan are united herein; profound and forceful, this is a work unparalleled in either the past or present.” Fan K’uan, a native of Hua-yüan, earned his personal name (K’uan) from his generous (K’uan) nature. In landscape painting, he initially followed the styles of Li Ch’eng (919-967) and Ching Hao (late 9th-early 10th centuries), but later developed his own style.
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 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
