| 文物統一編號 |
故畫003662N000000000
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| 作品號 |
故畫00366200000 |
| 品名 |
清鄒一桂太古雲嵐 軸
Clouds and Mists of High Antiquity |
| 分類 |
繪畫 |
| 作者 |
鄒一桂,Zou Yigui |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
鄒一桂
印記 expand_more
|
本幅 |
壬申（西元一七五二年）春仲。扈從盤山。即景恭畫。臣鄒一桂。 |
楷書 |
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| 作者款識 |
鄒一桂
印記 expand_more
|
本幅 |
臣一桂恭和 |
楷書 |
大鈞播物開洪濛。艮方斵壁羞雷同。三盤凸竅神斧工。中膚外骨精氣通。泉縈峰繞不可窮。琳宫寶墖羅禪宗。怒虎踞石龍拏松。雲物變幻陰晴中。此圗繪出卷阿風。矢詩賡和追前蹤。臣一桂恭和。 |
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| 題跋 |
汪由敦
印記 expand_more
|
本幅 |
御製題句。臣汪由敦奉命敬書。 |
行書 |
春雲欲出山濛濛。山乎雲乎將無同。變態萬狀難為工。若人意會神以通。煙巒莫遁冥搜窮。妙解要在得其宗。奚問邱壑石與松。五日清遊一覽中。扈蹕不孤冐春風。嘉陵道子今齊踪。御製題句。臣汪由敦奉命敬書。 |
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| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清高宗 |
八徵耄念之寶 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清高宗 |
五福五代堂古稀天子寶 |
| 鑑藏寶璽 |
清高宗 |
石渠定鑑 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清內府印 |
宜子孫 |
| 鑑藏寶璽 |
宣統帝 |
宣統御覽之寶 |
| 鑑藏寶璽 |
宣統帝 |
宣統鑑賞 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆鑑賞 |
| 鑑藏寶璽 |
清高宗 |
御書房鑑藏寶 |
| 鑑藏寶璽 |
宣統帝 |
無逸齋精鑑璽 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
寶笈重編 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
山水 |
春景 |
|
| 其他主題 |
山水 |
山徑 |
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| 其他主題 |
山水 |
雲 |
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| 其他主題 |
山水 |
溪澗、湍泉 |
溪澗 |
| 其他主題 |
建築 |
寺廟 |
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| 其他主題 |
建築 |
店舖 |
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| 其他主題 |
建築 |
房舍 |
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| 其他主題 |
建築 |
亭 |
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| 其他主題 |
建築 |
塔 |
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| 其他主題 |
建築 |
籬笆、圍牆 |
圍牆 |
| 其他主題 |
樹木 |
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| 其他主題 |
樹木 |
松 |
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| 其他主題 |
樹木 |
寒林．枯樹 |
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| 技法 |
技法細目 |
| 工筆 |
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| 苔點 |
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| 皴法 |
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| 皴法 |
披麻皴 |
| 寫意 |
|
| 類別 |
參考資料 |
| 內容簡介 |
鄒一桂，生於康熙二十五（公元一六八六）年，死在乾隆三十七（公元一七七二）年，江蘇無錫人。字原褒，號小山，又號讓卿，晚號二知老人。曾中雍正五年進士，歷官到禮部侍郎，加尚書銜。除能繪畫外，又精通畫理，著有小山畫譜。
他的畫，以花卉最知名，畫山水亦頗具風格，如本幅畫河北薊縣盤山靜寄山莊全景，純以寫生手法出之，筆致細謹，樹石房舍遠近大小悉合比例，雲影山光也採透視畫法，令人有臨高遠眺，雲山勝景盡收眼下之概。
|
| 內容簡介 |
鄒一桂（西元一六八六─一七七二年），江蘇無錫人。字原褒，號小山，又號讓卿，晚號二知老人。官至禮部侍郎，加尚書銜。亦精通畫理，有《小山畫譜》傳世。
本幅繪盤山靜寄山莊全景，純以寫生法出之，筆致細謹，樹石房舍遠近大小悉合比例，雲影山光也採透視畫法，令人有臨高遠眺，雲山勝景盡收眼下之概。作於乾隆壬申（一七五二），時鄒一桂六十七歲。
(20121016)
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| Description |
Zou Yigui (style name Yuanbao and sobriquets Xiaoshan, Rangqing, and later Erzhi laoren), a native of Wuxi in Jiangsu, rose to the post of Vice Minister of Rites with the honorary title of Minister. Also gifted at painting theory, he authored the Painting Manual of Xiaoshan.
This work depicts an overview of the Jingji Retreat at Mount Pan. Done purely in the sketching-from-life manner, the brushwork is extremely fine while the distance and size of the landscape elements and architecture all proportional. The cloudy mountains are done in perspective to provide a high distance that encompasses the scenery as a whole before the viewer. This painting was done in 1752, when Zou Yigui was 67 by Chinese reckoning.
(20121016)
|
| Description |
Tsou I-kuei, tzu (style name) Yuan-pao and hao (sobriquet) Hsiao-shan, Jang-ch’ing and later Erh-chih lao-jen, was a native of Wu-hsi, Kiangsu. He received the chin-shih degree in 1727 and led an official career which culminated in his appointment as Vice-President of the Board of Rites (later he was given the honorary title of President). He was interested in the theory as well as the practice of painting and authored a manual of painting, Hsiao-shan hua-p’u.
Tsou I-kuei is best known for his paintings of flowers and birds, but he also proved himself a fine landscape stylist in works like this representation of the strangely-shaped Mount P’an in Hopei Province. In it he employed the principles of “drawing from life” which also characterize his bird-and-flower paintings. His brush fondly traces every detail of the trees, rocks and houses, and places them all in accurate spacial and size relationships to each other. His representation of the light on the mountains also follows the rules of visual realism. All of this creates in the viewer the impression that he is gazing on a real scene.
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| 參考書目 |
1.馮明珠，〈鄒一桂太古雲嵐〉，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87。
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| 收藏著錄 |
石渠寶笈續編（御書房），第四冊，頁2192
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| 收藏著錄 |
故宮書畫錄（卷八），第四冊，頁102
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| 收藏著錄 |
故宮書畫圖錄，第十一冊，頁229-230
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本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理
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