| 文物統一編號 |
故畫000169N000000000
|
| 作品號 |
故畫00016900000 |
| 品名 |
宋人畫調鶴采花仙 軸
Training a Crane and Picking Flowers of Immortality |
| 分類 |
繪畫 |
| 數量 |
一軸 |
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
|
萊公鑒賞 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清高宗 |
太上皇帝 |
| 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 |
清高宗 |
珠林重定 |
| 鑑藏寶璽 |
清內府印 |
秘殿珠林 |
| 鑑藏寶璽 |
清高宗 |
秘殿新編 |
| 鑑藏寶璽 |
清高宗 |
乾清宮鑑藏寶 |
| 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 |
清仁宗 |
嘉慶御覽之寶 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
佛道人物 |
神、仙 |
仙女 |
| 次要主題 |
器用 |
枴杖 |
|
| 其他主題 |
山水 |
溪澗、湍泉 |
|
| 其他主題 |
佛道人物 |
佛道侍者 |
|
| 其他主題 |
走獸 |
羊 |
|
| 其他主題 |
車 |
獸力車 |
羊車 |
| 其他主題 |
花草 |
|
|
| 其他主題 |
翎毛 |
鶴 |
|
| 其他主題 |
樹木 |
|
|
| 技法 |
技法細目 |
| 人物衣紋描法(粗細線條) |
|
| 工筆 |
|
| 苔點 |
|
| 皴法 |
斧劈皴 |
| 寫意 |
|
| 類別 |
參考資料 |
| 內容簡介 |
藤蘿峭壁間，一女仙持杖，一鶴相隨。鶴是仙禽，常伴隨仙人出現。一侍女以樹葉為衣裳，雙手攀花欲折。坡下方停著一輛羊車，結藤為輪，頗為雅緻。畫面題材布局，兩峭壁之間隔成前後景，遠處一彎流水，大有曲徑通幽，一派遠古仙境，令人嚮往。本幅仙人及鶴、羊、花卉，畫來細緻工謹，設色亦古雅可愛。畫山石輪廓及斧壁皴法，用筆剛猛顯其厚重，且布局虛實緊湊，底是好畫，惟時代是尚不及宋，是十四、十五世紀之際。
|
| 內容簡介 |
本幅應繪毛女，因藤蘿峭壁間，女仙形體生毛，結草為衣。坡下方停置羊車，結藤為輪，呈現非人間景象。從文獻資料來看，以毛女為畫題，宋代已有。明末收藏界亦流傳一組毛女圖四幅，畫中毛女的手、肩各有執負，並有隨行鶴鹿等動物，可見毛女形象並不限於一種。畫幅細緻工謹，設色古雅，山石輪廓及斧劈皴法，用筆剛猛。惟時代尚不及宋，或成於十四、十五世紀之際。
|
| Description |
By cliffs with wisteria is an immortal maiden with hair over her body and a leafy gown, probably representing Maonu (“Hirsute Maiden”). Below is a ram cart with knotted vines for wheels, creating an otherworldly scene. Texts indicate that paintings on Maonu appeared by the late Southern Song, and 4 works of her attributed to the Yuan artist Qian Xuan circulated in late Ming collections. In them, she carries something accompanied by such animals as a crane and deer, indicating different images of her. The fine brushwork and archaic coloring here are complemented by landscape outlines and axe-cut texture strokes, making the brushwork strong and bold. The date, however, is later than the Song and perhaps in the early Ming (late 14th to early 15th c.).
|
| Description |
From behind a vine-covered cliff, a female immortal emerges holding a staff and accompanied by a crane, the bird of long-1ife is often seen in the company of immortals. Another immorta1, also wearing leaves as an overcoat, extends her arms and picks flowers growing from the cliff. In the foreground is a goat-driven cart with twisted vine for wheels and laden with leaves, flowers, and fungi depicted in an elegant and fine manner. In thearrangement of motifs, the cliffs form a background for the figures and the winding path in the foreground opens up to a winding stream in the far distance, creating an inviting realm for the ancient immortals. The coloring is also elegant and charming. The outlines for the rocks and cliffs, as well as the axe-cut texture strokes, are all done with decisive and strong brushwork. Furthermore, the compact arrangement of solids and voids make for a visually pleasing painting. The style, however, is not like that of the Sung, but rather the 14th or 15th century.
|
| 收藏著錄 |
秘殿珠林續編（乾清宮），頁237
|
| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁131-132
|
| 收藏著錄 |
故宮書畫圖錄，第三冊，頁43-44
|
| 參考書目 |
1.王耀庭，〈宋人畫調鶴采花仙〉，收入王耀庭、童文娥編，《長生的世界：道教繪畫特展圖錄》（臺北：國立故宮博物院，1996年初版），頁74-75。
2.許文美，〈避秦宮人成女仙 — 院藏二幅「毛女圖」畫題畫意探討〉，《故宮文物月刊》，第321期（2009年12月），頁78-87。
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