| 文物統一編號 |
故畫000222N000000000
|
| 作品號 |
故畫00022200000 |
| 品名 |
元趙雍畫小春熙景 軸
Discourse on Calligraphy |
| 分類 |
繪畫 |
| 作者 |
趙雍,Zhao Yong |
| 數量 |
一軸 |
| 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 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
人物 |
高士（士人、隱士） |
|
| 主要主題 |
山水 |
冬景（雪景） |
|
| 主要主題 |
樹木 |
寒林．枯樹 |
|
| 次要主題 |
人物 |
侍從（侍女、童僕） |
童僕 |
| 次要主題 |
山水 |
溪澗、湍泉 |
溪澗 |
| 次要主題 |
建築 |
橋 |
|
| 次要主題 |
樹木 |
竹 |
|
| 其他主題 |
花草 |
梅（白．紅．蠟梅） |
白梅 |
| 技法 |
技法細目 |
| 人物衣紋描法(粗細線條) |
|
| 工筆 |
|
| 苔點 |
|
| 皴法 |
斧劈皴 |
| 類別 |
參考資料 |
| 內容簡介 |
早春的梅花，綻放在殘雪猶寒的景致裡。溪澗橋畔有三個人物，中間的老者叟幅巾策杖而立；前方童僕正抬腳攀折梅枝；後方隨從則掩口而視，顯其緊張之狀。雖具趙雍款印，然山水、樹石、人物之畫風，恐皆不及元代，畫成時間應晚於明吳偉、王諤之流。 趙雍，（西元一二八九年生，卒年不詳），字仲穆，浙江吳興人。善畫人物、鞍馬。其父為趙孟頫，父子皆以書畫聞名。
|
| 內容簡介 |
趙雍（西元1290年生，卒年不詳），字仲穆，浙江吳興人。善畫人物、鞍馬。其父為趙孟頫，父子皆以書畫聞名。
早春的梅花，綻放在殘雪猶寒的景致裡。溪澗橋畔有三個人物，中有老者策杖而立；前方童僕正攀折梅枝；後方隨從則掩口而視，顯其緊張之狀。雖具趙雍款印，然山水、樹石、人物之畫風，與元代不同，成畫時間應晚於明吳偉（1459-1508）、王諤之流。
(20120103)
|
| Description |
Zhao Yong (style name Zhongmu), a native of Wuxing in Zhejiang, excelled at painting figures and saddled horses. The son of Zhao Mengfu, both were renowned for their painting and calligraphy. Plum blossoms in early spring burst from this freezing snowscape. Three figures appear in front of a bridge; the old man wearing a long cap stands holding a staff. An attendant is in front on an outcropping and reaches to break off a branch of plum blossoms. Behind the man is another attendant looking and hunched nervously. Though this work bears a seal and signature of Zhao Yong, the style of the landscape, trees and rocks, and figures does not accord with the Yuan dynasty. It probably dates to later than Wu Wei and Wang E of the Ming dynasty.(20120103)
|
| Description |
Plum blossoms in early spring burst from the snowscape in this freezing scene. Three figures are shown in front of a bridge. The man wearing a long cap holds a staff. An attendant stands on an outcropping as he breaks off a branch of plum blossoms. Behind the man is another attendant huddled in the cold. Though this work bears the seal and signature of Chao Yung, the style of the landscape, trees and rocks, and figures does not appear to be that of the Yuan dynasty. This work probably dates to later than Wu Wei and Wang O of the Ming dynasty. Chan Yung, a native of Chekiang province, excelled at painting figures and horses. The son of the Chao Meng-fu, both of them were renowned for their painting and calligraphy.
|
| 收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1582
|
| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁164
|
| 收藏著錄 |
故宮書畫圖錄，第四冊，頁203-204
|
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