| 文物統一編號 |
故畫000308N000000000
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| 作品號 |
故畫00030800000 |
| 品名 |
元盛懋畫松溪泛月 軸
Boating Beside Pine Trees in Moonlight |
| 分類 |
繪畫 |
| 作者 |
盛懋 |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
盛懋
印記 expand_more
|
本幅 |
武塘盛懋子昭製 |
楷書 |
|
|
|
| 題跋 |
姚綬
印記 expand_more
|
本幅 |
雲東逸史姚綬漫書 |
行書 |
月移山影照漁船。船載山行月在前。山突兀。月嬋娟。一曲漁歌山月邊。洞庭湖上晚風生。風攪湖心一葉輕。蘭棹穩。草花新。只釣鱸魚不釣名。雲東逸史姚綬漫書。 |
|
|
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
|
（一印不可辨） |
| 收傳印記 |
項元汴 |
墨林項季(子章)（半印） |
| 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 |
宣統帝 |
宣統鑑賞 |
| 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 |
宣統帝 |
無逸齋精鑑璽 |
| 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 |
山水 |
江河、湖海 |
江、河、湖 |
| 主要主題 |
山水 |
夜景（月景） |
|
| 主要主題 |
樹木 |
松 |
|
| 次要主題 |
人物 |
高士（士人、隱士） |
高士 |
| 其他主題 |
人物 |
侍從（侍女、童僕） |
侍從、童僕 |
| 其他主題 |
人物 |
漁夫、船夫 |
船夫 |
| 其他主題 |
花草 |
蘆葦 |
|
| 其他主題 |
建築 |
水榭 |
|
| 其他主題 |
建築 |
房舍 |
|
| 其他主題 |
船 |
|
|
| 其他主題 |
器用 |
文房用具 |
|
| 其他主題 |
器用 |
香爐．火盆 |
香爐 |
| 其他主題 |
器用 |
傢俱（屏風） |
傢俱 |
| 其他主題 |
樹木 |
|
|
| 技法 |
技法細目 |
| 人物衣紋描法(勻稱線條) |
|
| 界畫 |
|
| 苔點 |
|
| 皴法 |
披麻皴 |
| 寫意 |
|
| 類別 |
參考資料 |
| 內容簡介 |
盛懋（活動於西元一三一三—一三六二年），臨安人，僑嘉興魏塘鎮。字子昭。善山水、人物、花鳥，始學陳仲美，略變其法，精絕有餘，特過於巧。
山隈水曲，一人水榭憑欄，老者載書放艇而至，構景甚幽，筆亦纖秀。
|
| 內容簡介 |
盛懋（活動於14世紀中期），字子昭。浙江臨安（今杭州）人，後遷浙江嘉興魏塘鎮，與吳鎮居比鄰。善畫山水、花鳥、人物。初隨陳琳學畫，後技法漸趨成熟，遂形成其個人風格。
本幅畫山隈水曲，蘆葦滿汀，一人水榭憑欄，一人泛艇夜遊。月色波光，遠山相映，佈局虛實、疏密有致，構景幽寂。作者以披麻皴畫山石，用筆纖秀。前景的松樹樹幹描寫仔細，屈節皴皮如可觸摸。
|
| Description |
Sheng Mao (style name Zizhao) was a native of Lin’an in Zhejiang (modern Hangzhou) and later lived in the town of Weitang in Jiaxing, Zhejiang, being a neighbor of Wu Zhen. He excelled at painting landscapes, figures and birds-and-flowers. In the beginning, he studied with Chen Lin and later gradually modified his style, creating a personal manner of his own.
In this scene, the river reaches into many curves and bays along the foot of the mountains. One person leans on the railing of a pavilion over the water as an old man sits in a boat, drifting towards the bank. The moonlit waves contrast with the distant mountains, the arrangement of solid and void creating considerable variety to the density in this secluded scene. The artist has used hemp-fiber strokes to depict the landscape elements, the brushwork being very fine and elegant. The trunks of the pines in the foreground are rendered in detail, the rough gnarled surface appearing so lifelike as if one can reach out and touch them.
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| Description |
Sheng Mao was a native of Lin-an, Chekiang province, who lived in Chia-hsing in the same province. His style name was Tzu-chao. He was a good painter of landscapes, figures and flowers and birds. In the beginning, he studied the art of Ch'en Lin (late 13th century) and somewhat modified his style. His work achieved much excellence with perhaps on excess of technical virtuosity.
In this scene the river reaches into many curves and bays along the mountains' feet. Someone leans on the railing of a pavilion over the water. An old man with his books sits in a boat, drifting towards the bank. The composition evokes elegance and peacefulness. The handling of the brush is very elegant and delicate.
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| 收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1641
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| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁230
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| 收藏著錄 |
故宮書畫圖錄，第五冊，頁47-48
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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
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