民國黃賓虹石泉疏雨　軸

繪畫

基本資料典藏尺寸質地題跋資料主題技法參考資料保存維護

文物統一編號	購畫000032N000000000
作品號	購畫00003200000
品名	民國黃賓虹石泉疏雨　軸
分類	繪畫
作者	黃賓虹
數量	一軸

位置	尺寸(公分)
本幅	120x44.3

質地位置	質地
本幅	紙本

題跋類別

作者

位置

款識

書體

全文

作者款識

黃賓虹印記 expand_more

本幅

酒傾蘭勺石泉香。衣翦荷盤露氣涼。誰料十年江海興。閉門疎雨對橫塘。元人詩。賓虹畫。

行書

印主	印記
黃賓虹	癸未年八十
黃賓虹	黃賓鴻
黃賓虹	黃山予向
黃賓虹	竹北簃

簽

包首

黃賓虹石泉疏雨。

主題類別	主題(第一層)	主題(第二層)
主要主題	山水
次要主題	人物	高士（士人、隱士）
次要主題	樹木	寒林．枯樹

技法	技法細目
苔點
皴法	雨點皴

類別	參考資料
內容簡介	黃賓虹（西元一八六五－一九五五年），安徽歙縣人，原名質，字樸存，中年更號賓虹，後以號行。學畫於陳春帆，後力工山水，以新安派為宗，受李流芳、程邃、程正揆、殘之影響，兼法宋元，屢經變革，遂自成面目。　　此圖濃鬱焦乾墨法交互使用，渾厚華滋，意境幽深，黑白對比極其明顯。
Description	Huang Pin-hung (original name Chih; style name P’u-ts’un) was a native of She-hsien, Anhwei. In his middle years, he took the sobriquet Pin-hung, by which he became most well-known. He started painting under Ch’en Ch’un-fan and later devoted himself to landscape subjects, taking the Anhwi School style of the seventeenth century as his model; he was influenced by the styles of such painters as Li Liu-fang (1575-1629), Ch’eng Sui (1605-1691), Ch’eng Cheng-k’uei (fl. 17th century) and K’un-ts’an (1612- c. 1673). He also followed the styles of Sung (960-1279) and Yuan dynasty (1279-1368) painters, transforming and reforming them to create his own style. This painting was executed with the complementary use of dark thick and scorched dry ink that appears sophisicated and elaborate, yet conveying the idea of tranquil profundity. The contrast between black and white is very obvious.

類別

參考資料

內容簡介

　　黃賓虹（西元一八六五－一九五五年），安徽歙縣人，原名質，字樸存，中年更號賓虹，後以號行。學畫於陳春帆，後力工山水，以新安派為宗，受李流芳、程邃、程正揆、殘之影響，兼法宋元，屢經變革，遂自成面目。　　此圖濃鬱焦乾墨法交互使用，渾厚華滋，意境幽深，黑白對比極其明顯。

Description

Huang Pin-hung (original name Chih; style name P’u-ts’un) was a native of She-hsien, Anhwei. In his middle years, he took the sobriquet Pin-hung, by which he became most well-known. He started painting under Ch’en Ch’un-fan and later devoted himself to landscape subjects, taking the Anhwi School style of the seventeenth century as his model; he was influenced by the styles of such painters as Li Liu-fang (1575-1629), Ch’eng Sui (1605-1691), Ch’eng Cheng-k’uei (fl. 17th century) and K’un-ts’an (1612- c. 1673). He also followed the styles of Sung (960-1279) and Yuan dynasty (1279-1368) painters, transforming and reforming them to create his own style. This painting was executed with the complementary use of dark thick and scorched dry ink that appears sophisicated and elaborate, yet conveying the idea of tranquil profundity. The contrast between black and white is very obvious.

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