| 文物統一編號 |
故畫002381N000000000
|
| 作品號 |
故畫00238100000 |
| 品名 |
清赫奕晴嵐晚翠 軸
Weather Clearing in the Misty Evening Greenery |
| 分類 |
繪畫 |
| 作者 |
赫奕 |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
赫奕
印記 expand_more
|
本幅 |
臣赫奕恭畫 |
楷書 |
|
|
|
| 題跋 |
清聖祖
印記 expand_more
|
本幅 |
|
草書 |
秋草黃花覆古阡。隔林何處起人煙。山僧獨在山中老。唯有寒松見少年。唐句。 |
| 印主 |
印記 |
| 清聖祖 |
康熙 |
| 清聖祖 |
稽古右文 |
| 清聖祖 |
中和 |
|
| 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 |
建築 |
房舍 |
|
| 次要主題 |
建築 |
橋 |
|
| 次要主題 |
樹木 |
松 |
|
| 次要主題 |
樹木 |
楊柳 |
|
| 其他主題 |
山水 |
溪澗、湍泉 |
溪澗 |
| 其他主題 |
樹木 |
|
|
| 類別 |
參考資料 |
| 內容簡介 |
作者赫奕，一作赫頤，生死時年不詳，康熙間滿洲人。別號澹士。善畫山水，為王原祁弟子，但作品於師法外，尚能參考前人，不落時習。如本幅畫山石，主要採取「米家雲山」畫法，不用多皴，而以濃淡墨點重疊破染，是故積墨蒼鬱，筆蹤混化，特別能夠表現出那種空氣濕潤、雲氣氳氤中，峰巒渾厚，遠近景物分明的情致。
|
| Description |
In this painting Ho I has carefully followed the manner of the Sung dynasty artist Mi Fu in describing the mountains and rocks. He has used texture-strokes only sparingly, but has employed various tonalities of ink and repeated layers of dots to create a sense of surface texture, thus achieving an ample accumulation of ink. His brushstrokes are complex and represent especially well a moist, airy atmosphere. Ridges and peaks are massive and grand, and a sense of distant and near views is clearly transmitted.
The painter Ho I was a Manchurian by birth; although the exact dates of his birth and death remain uncertain, he is known to have been active during the K’ang-hsi reign period (1662-1722). A disciple of Wang Yuan-ch’i, he excelled in painting landscapes. In addition to the works of his teacher, he also studied the works of former masters, yet he never adopted the mannerisms of his day.
|
| 收藏著錄 |
石渠寶笈初編（養心殿），上冊，頁672
|
| 收藏著錄 |
故宮書畫錄（卷八），第四冊，頁92
|
| 收藏著錄 |
故宮書畫圖錄，第十冊，頁53-54
|
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
