民國黃賓虹山隱幽居　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000030N000000000
作品號	購畫00003000000
品名	民國黃賓虹山隱幽居　軸
分類	繪畫
作者	黃賓虹
創作時間	中華民國十一年（1922）
數量	一軸

位置	尺寸(公分)
本幅	147x79

質地位置	質地
本幅	紙

題跋類別

作者

位置

款識

書體

全文

簽

包首

黃賓虹山隱幽居。

作者款識

黃賓虹印記 expand_more

山隱幽居草木深。鳥唬花落晝沉沉。行人杖履多迷路。不是書聲何處尋。壬戌（西元一九二二年）夏日。澤園先生屬正。賓虹。

行楷書

印主	印記
黃賓虹	黃質私印
黃賓虹	高蹈獨往蕭然自得

主題類別	主題(第一層)	主題(第二層)
主要主題	山水
次要主題	建築	房舍
次要主題	樹木
其他主題	山水	煙、霧

技法	技法細目
皴法	披麻皴
寫意

類別	參考資料
內容簡介	黃賓虹（西元一八六五－一九五于年），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、髡殘之影響，兼法宋元，屢經變革，遂自成面目。　山隱幽居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，而左上角的題詩，「行人杖履多迷路，不是書聲何處尋」，更為本幅添加繪畫不易表達的聲音，充分表現了中國詩畫交融的特有氣質。
Description	Huang Pin-hung (orginal name Chih; style name P’u-ts’un) was a bative of She-hsien, Anhwei. In his middly years, he took the sobriquet Pin-hung, by which he became most well-known. He started painting uder Ch’en Ch’un-fan and later devoted himself to landscape subjects, taking the Anhwei School style of the seventeenth centruy as his model; he was influenced by the styles of such painters as Li Liu-fang (1575-1628), 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 sophisticated and elaborate, yet conveying the idea of tranquil profundity. The contrast between black and white is very obvious. In the upper left corner is an inscribed poem: “The plodding travelers often lose their way; if not for the recital from books where is he to be found?” This poem emphasizes even more the difficulty of expressing sound in painting, fully representing the special Chinese characteristic of fusing poetry and painting.

類別

參考資料

內容簡介

黃賓虹（西元一八六五－一九五于年），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、髡殘之影響，兼法宋元，屢經變革，遂自成面目。　山隱幽居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，而左上角的題詩，「行人杖履多迷路，不是書聲何處尋」，更為本幅添加繪畫不易表達的聲音，充分表現了中國詩畫交融的特有氣質。

Description

Huang Pin-hung (orginal name Chih; style name P’u-ts’un) was a bative of She-hsien, Anhwei. In his middly years, he took the sobriquet Pin-hung, by which he became most well-known. He started painting uder Ch’en Ch’un-fan and later devoted himself to landscape subjects, taking the Anhwei School style of the seventeenth centruy as his model; he was influenced by the styles of such painters as Li Liu-fang (1575-1628), 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 sophisticated and elaborate, yet conveying the idea of tranquil profundity. The contrast between black and white is very obvious. In the upper left corner is an inscribed poem: “The plodding travelers often lose their way; if not for the recital from books where is he to be found?” This poem emphasizes even more the difficulty of expressing sound in painting, fully representing the special Chinese characteristic of fusing poetry and painting.

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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