| 文物統一編號 |
故畫002312N000000000
|
| 作品號 |
故畫00231200000 |
| 品名 |
明董其昌仿米瀟湘白雲 軸
Imitating Mi [Yu-jen's] "White Clouds of Hsiao and Hsiang" |
| 分類 |
繪畫 |
| 作者 |
董其昌 |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
董其昌
印記 expand_more
|
本幅 |
倣米海岳瀟湘白雲圖。此乃余家所藏。嘗戲為摹之。董玄宰。 |
行書 |
|
| 印主 |
印記 |
| 董其昌 |
太史氏 |
| 董其昌 |
董其昌印 |
| 董其昌 |
畫禪 |
|
| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 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 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
養心殿鑑藏寶 |
| 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 |
山水 |
江河、湖海 |
江河 |
| 次要主題 |
建築 |
房舍 |
|
| 其他主題 |
建築 |
水榭 |
|
| 其他主題 |
建築 |
橋 |
|
| 其他主題 |
建築 |
籬笆、圍牆 |
籬笆 |
| 其他主題 |
樹木 |
|
|
| 其他主題 |
樹木 |
楊柳 |
|
| 技法 |
技法細目 |
| 苔點 |
|
| 皴法 |
米點皴 |
| 皴法 |
披麻皴 |
| 寫意 |
|
| 類別 |
參考資料 |
| 內容簡介 |
董其昌（西元一五五五－一六三六年），江蘇華亭人。字玄宰，號思白。萬曆十六年進士。官至禮部尚書。善書法、行草。畫山水，宗北苑、巨然，亦集取宋元諸家長處。倡南北宗論，以南宗為正統。富收藏而尤精于鑒賞，曾著《容臺集》、《畫旨》、《畫禪室隨筆》諸書。對於後代的畫論及藝術發展影響甚鉅。
墨畫雲山數疊，喬林坡陀。通幅筆墨蒼厚腴潤，無論山皴、葉塊，皆神氣暢朗、秀潤蒼鬱。雖名仿摹，展現卻為己貌。
|
| Description |
Tung Ch’i-ch’ang (style name Hsuan-tsai; sobriquet Ssu-po) was a native of Hua-t’ing in Kiangsu, who received his chin-shih civil service degree in 1588. He ultimately became President of the Board of Rites. Tung Ch’i-ch’ang excelled at calligraphy, particularly running and cursive scripts. In landscape painting he followed the school of Tung Yuan (d. 962) and Chu-jan (fl. ca. 960-980) while also selectively studying the styles of various Sung (960-1279) and Yuan (1279-1368) dynasty painters. Tung Ch’i-ch’ang promoted the theory of Northern and Southern Schools, considering the latter one as orthodox. He possessed a large art collection and was particularly skilled at connoisseurship. He is the author of several books, such as The Jung-t’ai Literary Collection, Hua-chih (Points on Painting), and Miscellaneous Notes from the Hua-ch’an Studio. Tung Ch’i-ch’ang had an extraordinary influence on the development of later painting theories and art.
Depicted in this painting are multiple ridges of cloudy mountains with forests, hills, and other rugged terrain. The style of brushwork throughout the painting is dense, rich, and moist. Both the texture strokes for the mountains and clumps of leaves are energetic, elegant, and luxuriant. Although the title indicates the painting was done in imitation, the work reflects Tung Ch’i-ch’ang’s own style.
|
| 收藏著錄 |
石渠寶笈初編（養心殿），上冊，頁662
|
| 收藏著錄 |
故宮書畫錄（卷八），第四冊，頁87
|
| 收藏著錄 |
故宮書畫圖錄，第八冊，頁243-244
|
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
抽盤點紀錄
修護紀錄
