清周亮工集名家山水 冊 明程正揆泉石林巒
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- 資料識別：
- 故畫001274N000000006
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 程正揆
- 主題與關鍵字：
- 亭 江河、湖海
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 23.6x28.9 公分、對幅 23.6x28.9公分、全幅 29.2x68公分
- 關聯：
- 石渠寶岌三編（御書房），第七冊，頁3229&*故宮書畫錄（卷六），第四冊，頁273-281&* 程正揆（西元十七世紀），湖北孝感人，甲申後卜居江寧。初名正葵，崇幀辛未進士，順治時改今名，字端伯，號鞠陵，又號青溪道人。山水得董其昌指授。 禿筆中鋒，用墨枯淡，境亦幽僻，是程畫中之精者。對開有龔賢題語，與僧髠殘並推為二溪。謂髠殘畫如亂頭粗服，程正揆畫如玉骨水肌。 &* Although Ch’eng Cheng-k’uel was originally a native of Hsiao-kan in Hupei province, he moved to the Kiangning area (Nanking) after the fall of the Ming dynasty in 1644. He received the chin-shih degree in 1631. He adopted the present name at the beginning of the Ch’ing dynasty. His tzu was Tuan-po and his hao were Chü-ling and Ching-his Tao-jen. He once studied landscape painting with Tung Ch’i-ch’ang (1555-1636). The artist has used a blunt brush and pale dry inks to execute this isolated scene. It is one of his finest works. Mounted with the landscape is a long eulogy by the painter Kung Hsien (d. 1689) who compares the work to that of the monk K’un-ts’an (fl. 17th century). Kung says K’un-ts’an’s paintings are like people with dishevelled hair and ill-kempt clothing, while Ch’eng’s like people with fine bones and fair complexion. &*1.邱士華，〈清程正揆泉石林巒〉，收入何傳馨主編，《山水合璧：黃公望與富春山居圖特展》（臺北：國立故宮博物院，2011年五月初版一刷），頁345-346。 &*程正揆（1604-1676），字端伯，別號青溪道人，湖北人，以山水畫名擅一時。程正揆曾臨〈富春山居圖〉「無用師卷」，對黃公望推崇備至，畫風深受影響。 此幅畫山巖疊佈，坡腳平台置一小亭，可隨曲折河道遠望。畫中尖角狀山形、山間平台等母題，以及渾厚的山體，均承自黃公望。此作禿筆中鋒，用墨淺淡，畫境幽僻，在近似黃公望山水面貌之餘，另有一份清寂之感。 (清周亮工集名家山水冊 第六開 20110609)&*Cheng Zhengkui (style name Duanbo, sobriquet Qingxi daoren), a native of Hubei, was a famous landscape painter of his time. He once made a copy of the “Master Wuyong Version” of “Dwelling in the Fuchun Mountains,” having the utmost reverence for Huang Gongwang and being deeply influenced by his style. This work depicts a layered arrangement of mountains with a flat outcropping at the foothills and a small kiosk, the viewer able to follow the stream zigzagging into the distance. Such motifs as the pointed mountain forms and outcroppings among them, along with the natural power of the mountains, are all features deriving from Huang Gongwang’s style. The artist here employed a centered blunt brush with light ink to create a secluded and remote scene. In addition to its similarity to Huang Gongwang’s landscape, it also has a pure and desolate quality as well. (20110609)
- 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
