文物統一編號 |
故畫001240N000000008
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作品號 |
故畫00124000008 |
品名 |
藝苑藏真(上) 冊 宋趙伯驌風檐展卷
Reading in an Open Hall |
分類 |
繪畫 |
作者 |
趙伯驌,Zhao Bosu |
數量 |
一幅 |
位置 |
尺寸(公分) |
本幅 |
24.9x26.7 |
對幅 |
24.9x26.7 |
全幅 |
38.5x80 |
題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
題籤 |
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趙伯驌風檐展卷 |
題跋 |
清高宗
印記 expand_more
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對幅 |
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行書 |
常言開卷胥有益。其益公私亦自殊。不識風簷沈思者。心於為己為人乎。 |
印主 |
印記 |
清高宗 |
八徵耄念之寶 |
清高宗 |
自彊不息 |
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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 |
清高宗 |
五福五代堂寶 |
鑑藏寶璽 |
清高宗 |
太上皇帝之寶 |
主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
主要主題 |
建築 |
齋館 |
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次要主題 |
人物 |
侍從(侍女、童僕) |
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次要主題 |
人物 |
高士(士人、隱士) |
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次要主題 |
樹木 |
松 |
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其他主題 |
人物 |
仕女 |
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其他主題 |
山水 |
溪澗、湍泉 |
溪澗 |
其他主題 |
花草 |
藤蘿 |
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其他主題 |
建築 |
池水 |
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其他主題 |
建築 |
橋 |
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其他主題 |
建築 |
欄杆 |
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其他主題 |
器用 |
文玩(琴棋書畫) |
書 |
其他主題 |
器用 |
傢俱(屏風) |
屏風。榻 |
其他主題 |
器用 |
飲食器 |
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其他主題 |
樹木 |
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|
其他主題 |
樹木 |
竹 |
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技法 |
技法細目 |
人物衣紋描法(勻稱線條) |
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工筆 |
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界畫 |
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皴法 |
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皴法 |
斧劈皴 |
類別 |
參考資料 |
內容簡介 |
趙伯驌(西元1124─1182年),字希遠。善山水人物,界畫尤精。園中敞軒山巒環抱,庭院點景豐富,青松、小徑、曲檻、水池,配以林阜竹石,景物清幽。士人右手持羽扇坐於小榻上。後窗仕女二人,另有兩童執茗甌茶具行來。亭內塌上別設有憑几、小座屏風(枕屏),後有大畫屏。榻為如意足,座面為藤編織物。榻前擺設條桌,條桌兩腿足間有雙棖,上置書卷、膽瓶。敞軒一面壁上則懸置兩畫。畫中家具為典型宋代樣式,有學者懷疑此圖近似明代仇英之畫風,然尚無定論。
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內容簡介 |
敞空方亭內文士右持羽扇,左倚憑几,神態悠閑。仕女憑欄而立,侍僮手執茶盤、托、碗,一人手提茶瓶行來。畫中家具造型挺秀簡潔,亭內畫屏前設臥榻,漆桌上置書卷、瓷瓶、香爐。圖中室內設計極精簡,其中部分建築構造,兼具坐椅功能。
傍山臨水庭院湖石點綴,長松修竹環抱,為最佳的納涼避暑地。此圖營造出文人理想燕居之室。題簽訂為趙伯驌(1124─1182),善山水人物,界畫尤精。(20101015)
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內容簡介 |
趙伯驌(西元一一二四—一一八二年)南宋畫家,宋太祖七世孫,善畫山水人物,尤精於花鳥、界畫。
圖畫園林屋室,蒼松翠竹,湖石點綴其間,敞軒內一文士坐几榻上,意態悠閑,旁間仕女二人憑軒而立,庭前曲檻,二僮相互交談,白衣侍僮手執茶盤,上置黑漆茶托、茗甌以及茶瓶,朝向屋內行來。畫中為宋人生活形式,點茶、掛畫、插花、焚香宋代生活四藝,於此呈現無遺。
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Description |
Chao Po-su was a Southern Sung painter and the seventh-generation descendant of Emperor T'ai-tsu. He excelled at landscapes and figures, especially birds-and-flowers and ruled-line subjects.
In this work is a building in a garden setting with ornamental rocks, craggy pines, and verdant bamboo. A scholar sits in the open building on a daybed in an elegant and leisurely manner. In the hall to the side stand two ladies. Two attendants are also engaged in conversation on a bridge in front of the garden. The one wearing white holds a tea dish with a black-lacquered tea saucer, tea bowl, and teapot as he heads for the building. Nothing is missing here from the four scholarly arts of leisure in the Sung-tea, painting, flowers, and incense.
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Description |
Inside a spacious rectangular pavilion is a scholar gazing in leisurely refinement as he holds a feather fan in his right hand with his left arm resting on a stand. Ladies stand by the railing as a young attendant carries a tea tray, saucer, and cup, while another holds a tea jar. The furniture depicted in the painting is simple yet elegant, and a daybed is set up in front of the painting screen. On the lacquered table are books and scrolls, a bottle, and an incense burner. The design of the interior is quite abbreviated, with some of the architectural forms also serving as seating.
By the side of a hill and facing the water is a courtyard dotted with garden rocks surrounded by tall pines and slender bamboo, making for an ideal place to cool off in summer. This painting recreates the ideal architectural setting of a refined scholar. The label ascribes this work to Zhao Bosu, who was gifted at landscape and figure painting and especially ruled-line subjects.(20101015)
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Description |
Chao Po-su (style name Hsi-yuan) excelled at painting landscape, figures, and especially ruled-line subjects. In the middle of this garden scene is a pavilion surrounded by hills. The elements of a quiet and peaceful courtyard abound, including a pine tree, small path, curved railings, pond, and accompanying trees, bamboo, and rocks. Under the pine stands an open pavilion, in which a scholar sits on a small daybed. At the rear window are two servant girls as two other servants bring tea utensils.
Sets on the mat in the pavilion are a learning table and a small standing screen (also known as a “bed screen”), and behind is a large painted screen. The platform has scepter-shaped legs and a woven mat. In front of the platform is a high, narrow table with corner legs and double stretchers between the legs. On this table are books, scrolls, and a bottle, while two paintings can be viewed suspended on the wall. Some scholars believe that the style of this painting resembles that of Ch'iu Ying (ca. 1494-1552), but this must await further research . The furniture in this painting, however, is typical of the Sung dynasty.
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收藏著錄 |
石渠寶笈續編(重華宮),第三冊,頁1681
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收藏著錄 |
故宮書畫錄(卷六),第四冊,頁203
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參考書目 |
劉芳如,〈藝苑藏真(上) 冊 宋趙伯驌風檐展卷〉,收入《國寶的形成-書畫菁華特展》(臺北:國立故宮博物院,2017.10),頁142-145、312。
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收藏著錄 |
〈藝苑藏真(上) 冊 宋趙伯驌風檐展卷〉,收入李玉珉主編《故宮書畫圖錄(卅一)》(臺北:國立故宮博物院,2012.12),頁48-53。
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參考書目 |
何傳馨,〈藝苑藏真(上) 冊 宋趙伯驌風檐展卷〉,收入《文藝紹興-南宋藝術與文化‧書畫卷》(臺北:國立故宮博物院,2010.10),頁290-291、386-387。
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參考書目 |
〈藝苑藏真(上) 冊 宋趙伯驌風檐展卷〉,收入國立故宮博物院編輯委員會、林莉娜主編《畫中家具特展》(臺北:國立故宮博物院,1996.10),頁26-27、112。
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參考書目 |
1.國立故宮博物院編輯委員會,〈趙伯驌風簷展卷〉,收入國立故宮博物院編輯委員會編,《界畫特展圖錄》(臺北:國立故宮博物院,1986年初版),頁56-57。
2.林莉娜,〈風檐展卷〉,收入何傳馨主編,《文藝紹興:南宋藝術與文化‧書畫卷》(臺北:國立故宮博物院,2010年十月初版一刷),頁386-387。
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