| 文物統一編號 |
故畫001095N000000000
|
| 作品號 |
故畫00109500000 |
| 品名 |
清吳歷雲白山青圖 卷
Green Mountains and White Clouds |
| 分類 |
繪畫 |
| 作者 |
吳歷,Wu Li |
| 創作時間 |
清聖祖康熙七年（1668） |
| 數量 |
一卷 |
| 作品語文 |
漢文 |
| 位置 |
尺寸(公分) |
| 隔水一 |
14.6 |
| 隔水二 |
14.6 |
| 本幅 |
25.9x117.2 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
吳歷
印記 expand_more
|
本幅 |
雨歇遙天海氣腥。樹連僧屋雁連汀。松風謖謖行人少。雲白山青冷畫屏。戊申（西元一六六八年）九月六日。予從毘陵歸虞山。風雨寂寥中。有啜茗焚香之樂。八日晚晴。喜而圖此。吳歷并題。 |
楷書 |
|
| 印主 |
印記 |
| 吳歷 |
吳歷 |
| 吳歷 |
桃溪居士 |
| 吳歷 |
漁山 |
| 吳歷 |
墨井 |
| 吳歷 |
墨井草堂 |
| 吳歷 |
桃溪居士 |
|
| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 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 |
宣統御覽之寶 |
| 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 |
清高宗 |
御書房鑑藏寶 |
| 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 |
山水 |
|
|
| 次要主題 |
建築 |
寺廟 |
|
| 次要主題 |
樹木 |
松 |
|
| 其他主題 |
人物 |
行旅 |
|
| 其他主題 |
山水 |
山徑 |
|
| 其他主題 |
山水 |
石磴、棧道 |
石磴 |
| 其他主題 |
山水 |
雲 |
|
| 其他主題 |
山水 |
溪澗、湍泉 |
溪澗 |
| 其他主題 |
山水 |
瀑布 |
|
| 其他主題 |
花草 |
|
|
| 其他主題 |
花草 |
藤蘿 |
|
| 其他主題 |
建築 |
房舍 |
|
| 其他主題 |
建築 |
碑 |
路碑 |
| 其他主題 |
翎毛 |
|
|
| 其他主題 |
器用 |
挑擔 |
|
| 其他主題 |
樹木 |
|
|
| 其他主題 |
樹木 |
竹 |
|
| 技法 |
技法細目 |
| 人物衣紋描法(減筆) |
|
| 工筆 |
|
| 皴法 |
披麻皴 |
| 寫意 |
|
| 類別 |
參考資料 |
| 內容簡介 |
吳歷（西元一六三二至一七一八年），江蘇常熟人，字漁山，號墨井道人。擅長繪畫，與王翬同受業於王時敏，畫名與清初四王及惲壽平相等，世稱「四王吳惲」。壯年後信奉天主，熱心傳教，疏於繪畫，作品流傳後來甚少。此幅作於三十七歲（西元一六六八年），臨摹古畫功力極深，於青綠著色者尤為獨到，氣息頗近似宋元人，通卷皆用青綠紅白重色，而不覺躁濁，清虛靈動中妙造自然。
|
| 內容簡介 |
吳歷，（西元一六三二至一七一八年），江蘇常熟人，字漁山，號墨井道人。擅長繪畫，與王翬同受業於王鑑、王時敏，畫名與王時敏、王鑑、王翬、王原祁、惲壽平相等，世稱「四王吳惲」。惟因壯年後，信奉基督虔誠，熱心傳教工作，疏於繪畫，所以作品流傳後來甚少。此幅山水畫作於三十七歲（西元一六六八年），臨摹古畫功力極深，於青綠著色者尤有獨到之處，氣息頗近似宋元人作品，通卷皆用青綠紅白重色，而能不覺躁濁，於清虛靈動中妙造自然。
|
| Description |
Wu Li, style name Yu-shan, sobriquet Mo-ching tao-jen, was a native of Ch’ang-shou, Kiangsu. He and Wang Hui were both students of Wang Chien and Wang Shih-min. These four are often grouped with Wang Yuan-ch’i and Yun Shou-p’ing as the “Six Masters of the Early Ch’ing” or as “The Four Wangs, Wu, and Yun.” After 1679, however, Wu Li converted to Christianity and later entered the Jesuit order. He was ordained in Macao in 1688 and devoted the rest of his life to missionary activities in Nanking and Shanghai. Wu Li’s landscape style was based on a careful study and thorough understanding of the early masters. He was particularly skilled at the archaic “blue and green” style of landscape. In this genre, he approached the achievements of the Sung and Yuan masters. Although this handscroll was executed in bright, opaque pigments of blue, green, red, and white, there is no sense of confusion or muddiness. This painter has created an exquisitely natural work filled with movement and spirit. This painting was executed when the painter was thirty-six years old.
|
| Description |
Wu Li, native to Ch’ang-shu, Kiangsu, was along with Wang Hui a student of Wang Chien and Wang Shih-min. These four are often grouped among the “Six Early Ch’ing Masters.” In the prime of life Wu Li converted to Catholicism and devoted himself to missionary work, so few of his paintings survive. This work was done at the nominal age of 37 (1668), Wu’s style based on a careful study and understanding of early masters. He was quite skilled at the archaic “blue-and-green” landscape style, approaching the achievements of Sung and Yuan dynasty masters. Though this handscroll is done in bright, opaque colors of blue, green, red, and white, there is no confusion or muddiness. Wu created an exquisitely natural work filled with spirit and movement.
|
| 網頁展示說明 |
吳歷（1632－1718），江蘇常熟人，字漁山，號墨井道人。擅長繪畫，為清初六家之一。山水以黃公望為基，得力於王蒙，筆力蒼渾厚重。
全幅以青綠重色畫成，龍脈曲折蜿蜒，群峰環翠，富節奏變化。用筆皴擦鉤勒，錯綜複雜。此幀造境入妙，濃淡布置得宜，青綠設色盡情，卻不掩墨筆的揮灑，可說突破傳統力作。中年以後改信天主教，以傳教為志，流傳作品稀少，故此件作品更顯獨特與珍貴。
(20110913)
|
| 網頁展示說明 |
Wu Li (style name Yushan, sobriquet Mojing daoren), a native of Changshu in Jiangsu, excelled at painting and was one of the Six Masters of the Early Qing. His landscape style was based on that of Huang Gongwang while gaining much from Wang Meng’s manner, his brush force being hoary and substantial.
This painting was done in heavy colors focusing on blue and green hues, the veins of the mountains snaking through the composition with verdant rings of clustered peaks for rich and harmonic variations. The brushwork, texturing, washes, and outlining are intricate and complex, the scenery in this painting being marvelous and the arrangement of light and dark appropriate. The artist indulged in blue-and-green coloring but did not overwhelm the brush and ink, making for a masterful work that can be said to go beyond tradition. In his middle years, Wu Li converted to Christianity and devoted himself to missionary work. He thus left behind extremely few works, making this one all the more distinctive and precious.
(20110913)
|
| 收藏著錄 |
石渠寶笈初編（御書房），下冊，頁1070
|
| 收藏著錄 |
故宮書畫錄（卷四），第二冊，頁266
|
| 收藏著錄 |
故宮書畫圖錄，第二十冊，頁205-208
|
| 參考書目 |
1.王耀庭，〈清吳歷雲白山青圖〉，收入王耀庭編，《青綠山水畫特展圖錄》（臺北：國立故宮博物院，1995年七月初版一刷），頁95-96。
2.童文娥，〈清吳歷雲白山青圖〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁332。
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