五代梁荊浩匡廬圖 軸
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- 資料識別：
- 故畫000817N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 荊浩
- 主題與關鍵字：
- 名勝 山徑 溪澗、湍泉 江河、湖海 瀑布 漁夫、船夫 行旅 寒林．枯樹 騾．驢 房舍 橋 欄杆 篷舟
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 185.8x106.8公分、全幅 121公分
- 關聯：
- 石渠寶笈續編（寧壽宮），第五冊，頁2639&*故宮書畫錄（卷五），第三冊，頁15&*故宮書畫圖錄，第一冊，頁51&*1.陳韻如，〈荊浩匡廬圖〉，收入林柏亭主編，《大觀- 北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁91- 95。 2.馮明珠，〈荊浩匡廬圖〉，收入馮明珠主編，《乾隆皇帝的文化事業》（臺北：國立故宮博物院，2002年初版一刷），頁77。 3.〈五代梁荊浩匡廬圖〉，收入國立故宮博物院編輯委員會編，《山水畫墨法特展圖錄》（臺北：國立故宮博物院，1987年七月初版），頁58。 &*此圖據元代鑑賞家柯九思題識，畫廬山（在江西九江縣南）之景。山勢聳直，層層疊疊的形成了巨壑，山與山之間，以深淺多層次的漬染表現出空間。皴染的筆法短促圓轉，山石有著蒼勁古老的感覺，是一幅早期山水畫的傑作。舊傳荊浩作。荊浩（活動於西元十世紀上半），字浩然，河南沁水人，隱居於山西太行山之洪谷，自號「洪谷子」。善山水畫，特別講求用筆之方法與墨色的變化。&*According to the inscription on this work by the Yüan dynasty connoisseur K'o Chiu-ssu (1290-1343), this is a painting of Mount Lu (in southern Chiu-chiang County, Kiangsi). Lofty mountains rise vertically layer-upon-layer, forming vast ravines with a vase sense of space from one peak to another. Modeled in short, rounded texture strokes, the artist has conveyed the rugged antiquity of the mountains. This work is traditionally attributed to Ching Hao, a native of Honan who lived in seclusion in the Hung Valley located in the T'ai-hang mountains, after which he took the sobriquet "Man of Hung Valley." He excelled at landscape painting, paying special attention to the use of the brush and variations in ink. &*根據畫中右上方傳為元文宗的題字「荊浩真蹟神品」，歷代藏家都認為這是第十世紀隱居在太行山的畫家荊浩作品。他至少從十二世紀起，便被視為華北山水畫的創始者。 畫中上半部質理堅實而又各自獨立的群峰，雖然看來頗為古老；但下半部空間連續感的處理，及水口波紋等細節的畫法，則接近〈萬壑松風〉。畫中隱居、行旅與家庭生活的組合也類似〈早春圖〉。這可能是十二世紀所追想的荊浩風格。(20061206)&*According to the inscription attributed to the Yüan emperor Wen-tsung (Tugh Temur) that reads, “A genuine piece by Ching Hao; a divine work”, later collectors have all regarded this as a painting of Ching Hao, who lived in reclusion at the T'ai-hang Mountains. At least from the 12th century, Ching Hao has been considered as the founder of the Hua-pei (Northern) mode of landscape painting. The solid features and individual peaks of the mountains emerging in the upper half of the painting appear quite archaic. However, the treatment of the sense of continuity in the space of the lower half as well as details of the painting method in such parts as the ripples on the water are closer to the form of representation in Li T'ang's “Windy Pines Among a Myriad Valleys” from 1124. The composite effect of family life, traveling, and reclusion is also similar to that found in Kuo Hsi's “Early Spring” of 1072. Thus, this work perhaps is a 12th-century reflection pursuing the style of Ching Hao.(20061206)
- 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
