明孫龍寫生 冊
Painting from Nature
繪畫
| 文物統一編號 | 故畫001125N000000000 |
| 作品號 | 故畫00112500000 |
| 品名 |
明孫龍寫生 冊 Painting from Nature |
| 分類 | 繪畫 |
| 作者 | 孫龍,Sun Long |
| 數量 | 一冊：十二開（本幅十二開十二幅） |
| 類別 | 集叢名稱 | 件 | 開 | 幅 |
|---|---|---|---|---|
| 著錄細目 | 明孫龍寫生 冊 柔桑戴勝 | 01 | 01 | 01 |
| 著錄細目 | 明孫龍寫生 冊 草花蛺蝶 | 02 | 02 | 02 |
| 著錄細目 | 明孫龍寫生 冊 荇藻魚蝦 | 03 | 03 | 03 |
| 著錄細目 | 明孫龍寫生 冊 石榴 | 04 | 04 | 04 |
| 著錄細目 | 明孫龍寫生 冊 草石蜻蜓 | 05 | 05 | 05 |
| 著錄細目 | 明孫龍寫生 冊 蒲桃 | 06 | 06 | 06 |
| 著錄細目 | 明孫龍寫生 冊 青紫茄 | 07 | 07 | 07 |
| 著錄細目 | 明孫龍寫生 冊 楊梅 | 08 | 08 | 08 |
| 著錄細目 | 明孫龍寫生 冊 草蟲 | 09 | 09 | 09 |
| 著錄細目 | 明孫龍寫生 冊 筍 | 10 | 10 | 10 |
| 著錄細目 | 明孫龍寫生 冊 柳塘白鷺 | 11 | 11 | 11 |
| 著錄細目 | 明孫龍寫生 冊 雨山 | 12 | 12 | 12 |
| 位置 | 尺寸(公分) |
|---|---|
| 本幅 | 23.5x22 |
| 對幅 | 23.5x22 |
| 質地位置 | 質地 |
|---|---|
| 對幅 | 紙 |
| 本幅 | 絹 |
| 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 | 清仁宗 | 周甲延禧之寶 |
| 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 | 清仁宗 | 嘉慶御覽之寶 |
| 鑑藏寶璽 | 清仁宗 | 嘉慶鑑賞 |
| 鑑藏寶璽 | 清仁宗 | 寶笈三編 |
| 類別 | 參考資料 |
|---|---|
| 內容簡介 | 孫龍（西元十五世紀）是江蘇武進人。宣德年間任職於宮廷，擅長畫花鳥草蟲。純以墨彩點染的技法，雖然傳承自北宋的「沒骨」體，其實已經具備個人的特色。 本幅選自「孫龍寫生姚公綬題合璧冊」。畫中的蜻蜓和豆娘，落筆輕鬆，彷彿不經意間揮灑而成，但卻能充分掌握昆蟲的動態及神情。而對頁姚公綬的書法，同樣落筆瀟灑，書畫兩相呼應，更是在寫生之外，平添了文人典雅的氣息。 |
| 內容簡介 | 孫隆（西元十五世紀），一名龍，字廷振，號都痴（或曰小痴），江蘇毘陵人。宣德間入值內廷，曾為金門侍御，後知新安府。作翎毛草蟲，得北宋徐崇嗣沒骨法、及趙昌設色法之趣，又能兼融南宋梁楷之水墨寫意法，及元代王淵之設色寫意法，為明代寫生高手。 此冊畫絹已上礬，故筆雖溼而色不暈開，在將乾未乾時，層加墨筆，頗有墨色淋漓之趣。孫隆能充份發揮墨與色融合的特殊效果，使得花鳥畫有了更豐富的表現技巧。 |
| 內容簡介 | 孫龍（西元十五世紀），一作孫隆。字從吉，又字廷振，號都癡，武進（江蘇常州）人。開國忠愍侯（興祖，一三三六－一三七○）之孫。宣德間（一四二六－一四三五）入值內廷，官至侍御，後知新安府。幼穎異，有仙人氣度。其畫山水宗二米；畫花鳥草蟲，以彩色渲染，得徐崇嗣、趙昌沒骨法，饒有生趣。 寫意畫煙山雲樹，富於水份之墨色，頗多層次，極具淋漓之感。一片濛濛嵐氣之中，雲山縹緲，叢樹幽深，倍覺空靈之美。 |
| 內容簡介 | 孫龍（十五世紀前半），一作孫隆，字廷振，號都痴。江蘇武進人。宣德間入值內廷，兼擅翎毛、花卉、山水。其山水宗二米，花鳥草蟲則多以彩墨渲染，能融合徐熙落墨花與趙昌沒骨法而有所發展，對後世潑彩寫意畫深具影響。 本冊繪禽蟲、花果、煙雲等，共十二開。因畫絹塗有膠礬，故筆雖濕而色不暈散，極得墨瀋淋漓的鮮活趣味。裱綾及對幅題記，分別為清仁宗、姚公綬所書。 |
| 內容簡介 | 孫龍（15世紀），一名隆，字廷振，號都痴，江蘇毘陵人。宣德間入值內廷，擅長翎毛、草蟲，深得徐崇嗣沒骨法、趙昌設色法、梁楷水墨寫意法以及王淵之設色寫意法之趣，為明代寫生高手。 本冊繪禽蟲、花果、煙雲等，共十二開。由於畫絹上礬，故筆雖溼而色不暈開，在將乾未乾時，層加墨筆，頗有墨色淋漓之趣。孫隆充分發揮墨與色融合的特殊效果，使得花鳥畫有了更豐富的表現技巧。(20110913) |
| Description | Sun Long (style name Tingzhen, sobriquet Duchi) was a native of Piling in Jiangsu. He entered service at the Inner Court during the Xuande reign and specialized in painting birds and insects. Sun was adept at the “boneless” wash method of Xu Chongsi, the coloring technique of Zhao Chang, the method of “sketching ideas” in monochrome ink of Liang Kai, and the technique of “sketching ideas” in colors used by Wang Yuan. Among Ming dynasty artists, Sun Long was one of the most skilled at “sketching from life.” This album consists of twelve paintings of birds and insects, fruit, and clouds and mists. Alum was applied to the silk, so despite the brush being heavily loaded with colors and water, the colors did not bleed. Before they had dried, a layer of wet ink was also applied to create a dripping-wet effect. Sun Long was particularly gifted at the effect of fused ink and colors, achieving a most exquisite result that enriched his bird-and-flower painting. (20110913) |
| Description | This sketch of mist-filled mountains and cloud-covered forests, limned in watery ink applied in many layers, communicates a feeling of moisture and dampness. Clouds and mountains seem to float above the deep forest, creating a feeling of ephemeral beauty in an expanse of mist and haze. Sun Lung’s style-names were Ts’ung-chi and T’ing-chen; his sobriquet was Village Idiot. He was a native of Ch’ang-chou, Kiangsu. Sun, a child prodigy, was a grandson of Sun Hsing-tzu (1336-1370), who helped establish the Ming dynasty. In the Hsuan-te era (1426-1435) he served at court as an Attendant Censor and later served as Prefect of Hsin-an Prefecture. In his landscapes, Sun emulated the styles of the Northern Sung painters Mi Fu (1052-1107) and his son Mi Yu-jen (1072-1151). Sun’s paintings of flowers and birds and of grasses and insects were executed in washes of color in the “boneless,” or unoutlined, style of the early Northern Sung painters Hsu Ch’ung-ssu and Chao Ch’ang. |
| Description | Sun Lung (style name t’ing-chen, sobriquet Tu-ch’ih of Hsiao-ch’ih) was a native of P’i-ling, Kiangsu province. He entered the Inner Court during the Hsuan-te reign and served as an official at Peking. Later he served in Hsin-an, Anhui. He specialized in painting birds and insects. He was adept at using the “boneless” method (mo-ku) of the Northern Sung artist Hsu Ch’ung-ssu and the coloring techniques of Chao Ch’ang. He was also able to incorporate Liang K’ai’s method of capturing the vitality of depicted objects through monochrome ink as well as Wang Yuan’s method of applying colors. Of Ming dynasty artists, Sun Lung was one of the most skilled in the techniques of “drawing from life.” Alum was applied to the silk of the album leaves, so that although the brush was heavily loaded with colors and water, the colors did not bleed. After this layer dried half way, another layer of wet, black ink was applied, creating the effect of dripping wet ink. Sun Lung was particularly gifted in incorporating both monochrome ink and colors, achieving the most exquisite results, enriching bird-and-flower paintings. |
| 收藏著錄 | 石渠寶笈三編（延春閣），第四冊，頁1761 |
| 收藏著錄 | 故宮書畫錄（卷六），第四冊，頁30-32 |
| 收藏著錄 | 故宮書畫圖錄，第二十二冊，頁166-171 |
| 參考書目 | 1.本社，〈明孫龍寫生冊〉，《故宮文物月刊》，第66期（1988年9月），頁4-16。 2.譚怡令，〈明孫龍柔桑戴勝〉，收入譚怡令編，《畫裡珍禽》（臺北：國立故宮博物院，1988年十月初版），頁91。 3.王耀庭，〈孫龍寫生〉，收入國立故宮博物院編輯委員會編，《草蟲畫特展圖錄》（臺北：國立故宮博物院，1986年初版），頁72。 4.劉芳如，〈中國古畫裡的草蟲世界 — 「草蟲天地」特展介紹（上）〉，《故宮文物月刊》，第220期（2001年7月），頁21。 5.〈明孫龍寫生〉，收入國立故宮博物院編輯委員會編，《山水畫墨法特展圖錄》（臺北：國立故宮博物院，1987年七月初版），頁66。 |
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