| 文物統一編號 |
故畫001118N000000000
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| 作品號 |
故畫00111800000 |
| 品名 |
宋葉肖巖西湖十景圖 冊
Ten Views of West Lake |
| 分類 |
繪畫 |
| 作者 |
葉肖巖 |
| 數量 |
一冊：十開（本幅畫十開十幅） |
| 位置 |
尺寸(公分) |
| 本幅 |
23.9x20.2 |
| 對幅 |
23.9x20.2 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
葉肖巖 |
本幅十 |
肖巖 |
楷書 |
|
| 題籤 |
梁清標
印記 expand_more
|
裝前副葉 |
蕉林鑑藏 |
|
南宋葉肖巖西湖十景。蕉林鑑藏。 |
|
|
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
|
（半印六。漫漶不辨） |
| 收傳印記 |
|
（印六。漫漶不辨） |
| 收傳印記 |
項元汴 |
墨林珍藏 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 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 |
宣統御賞之寶 |
| 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 |
| 鑑藏寶璽 |
清高宗 |
寧壽宮續入石渠寶笈 |
| 鑑藏寶璽 |
清高宗 |
樂壽堂鑑藏寶 |
| 鑑藏寶璽 |
清高宗 |
寶笈重編 |
| 類別 |
參考資料 |
| 內容簡介 |
葉肖巖，杭州寶祐（公元1253至1258年）間人，作人物小景，頗類馬遠，然其蹟世多不見也。
西湖在浙江省杭州市城西，亦名錢塘湖，蘇軾詩有「欲把西湖比西子」之句，因又名西子湖，三面環山，有南北兩高峰對峙；湖中有蘇，白兩隄，四時風物清佳，以十景馳名於世。此冊即描寫西湖景色，山石以大斧劈法，著重烘染，用筆簡潔有韻緻，搆景設色取意頗工。如「雷峰夕照」之遠山後緣用淡硃稍加施染，霞光微露，已然夕陽西沉。餘諸頁亦如是，雖細微處，亦細潔圓潤。
|
| 內容簡介 |
葉肖巖（活動於十三世紀前半），杭州人，作人物小景近似馬遠，傳世畫蹟很少，生平也少見記載。
西湖在浙江杭州城西，蘇軾有詩：「欲把西湖比西子」之句，所以又名西子湖。湖三面環山，有南北二高峰對峙，湖中有蘇、白兩堤，四時風物清麗，以十景馳名。此冊即以十景為題，山石以大斧劈法，著重烘染，用筆簡潔有韻致，構景設色取意都見巧思。
|
| Description |
Yeh Hsiao-yen was a native of Hangchow who did figures and intimate landscapes similar to those of Ma Yuan. Few of his works survive and little information about him is recorded in texts. West Lake (Hsi-hu) is located west of Hangchow in Chekiang. Having been compared to the beauty Hsi-tzu by Su Shih, the lake is surrounded by hills on three sides with two peaks rising north and south. Two bankments are named after the literary officials who governed there, Po Chu-i and Su Shih, and are known for their scenery throughout the year. These are two of the ten sites rendered in large axe-cut strokes and heavy washes. The simple, harmonious brushwork is complemented by the skillful composition and coloring.
|
| Description |
The West Lake of Hang chow, Chekiang province, is also called the Lake Ch'ien-tang. A great Sung poet Su Shih compared it to the famed beauty Hsi-tzu; thereafter, an additional name “Lake Hsi-tzu”. It is surrounded by mountains on three sides. On the north and south two peaks rise in opposition. Two embankments, named after their builders Su and Pai, make two of the ten sights. Sceneries of national reknown are refreshing and delightful in four seasons.
This album depicts the ten views of the lake. Throughout, big axe-cut texture strokes are employed to model the mountains and rocks, while layers of wash are added for special emphasis. The handling of intones and brush creates a simple and perspicuous feeling, and yet much care has been given to counterbalance in composition. In the leaf, Peak Lei in the Afterglow, for instance, cinnabar wash is used on the low sky beyond the distant ridges to indicate the afterglow.
The simple yet well-counterbalanced composition, carefully executed details and exquisite coloration produce the charm common to all the ten leaves.
|
| 收藏著錄 |
石渠寶笈續編（寧壽宮），第五冊，頁2729
|
| 收藏著錄 |
故宮書畫錄（卷六），第四冊，頁11
|
| 收藏著錄 |
故宮書畫圖錄，第二十二冊，頁74-79
|
| 參考書目 |
1.李霖燦，〈葉肖巖的西湖圖及其他〉，《故宮文物月刊》，第28期（1985年7月），頁126-131。
2.本社，〈宋葉肖巖西湖十景圖〉，《故宮文物月刊》，第73期（1989年4月），頁4-14。
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| 參考書目 |
邱士華，〈宋葉肖巖西湖十景圖 冊〉，收入劉芳如主編《華夏藝術中的自然觀-唐獎故宮文物選萃特展》（臺北：國立故宮博物院，2016.09），頁38-45。
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