明董其昌紀遊畫冊　冊

Sketches of My Travels

繪畫

基本資料集叢資料典藏尺寸質地參考資料保存維護

文物統一編號	故畫003171N000000000
作品號	故畫00317100000
品名	明董其昌紀遊畫冊　冊 Sketches of My Travels
分類	繪畫
作者	董其昌,Dong Qichang
創作時間	明神宗萬曆十九年（1591）
數量	一冊：十九開（本幅十九開三十七幅）

類別	集叢名稱	件	開	幅
著錄細目	明董其昌紀遊畫冊　冊　焦山煙雨	01	01	01
著錄細目	明董其昌紀遊畫冊　冊　常山	02	01	02
著錄細目	明董其昌紀遊畫冊　冊　重巒疊翠	03	02	03
著錄細目	明董其昌紀遊畫冊　冊　彭城	04	02	04
著錄細目	明董其昌紀遊畫冊　冊　爛柯山	05	03	05
著錄細目	明董其昌紀遊畫冊　冊　小赤壁	06	03	06
著錄細目	明董其昌紀遊畫冊　冊　西山	07	04	07
著錄細目	明董其昌紀遊畫冊　冊　七巖	08	04	08
著錄細目	明董其昌紀遊畫冊　冊　西湖	09	05	09
著錄細目	明董其昌紀遊畫冊　冊　層巒聳秀	10	05	10
著錄細目	明董其昌紀遊畫冊　冊　溪山訪勝	11	06	11
著錄細目	明董其昌紀遊畫冊　冊　飛來峰	12	06	12
著錄細目	明董其昌紀遊畫冊　冊　鷲嶺靈隱	13	07	13
著錄細目	明董其昌紀遊畫冊　冊　林坪山	14	07	14
著錄細目	明董其昌紀遊畫冊　冊　普明塔	15	08	15
著錄細目	明董其昌紀遊畫冊　冊　呂梁瀑布	16	08	16
著錄細目	明董其昌紀遊畫冊　冊　重山疊翠	17	09	17
著錄細目	明董其昌紀遊畫冊　冊　武夷接笋峰	18	09	18
著錄細目	明董其昌紀遊畫冊　冊　溪橋飛瀑	19	10	19
著錄細目	明董其昌紀遊畫冊　冊　嚴子陵灘	20	10	20
著錄細目	明董其昌紀遊畫冊　冊　臥雲山	21	11	21
著錄細目	明董其昌紀遊畫冊　冊　鹿鳴山	22	11	22
著錄細目	明董其昌紀遊畫冊　冊　蕭山	23	12	23
著錄細目	明董其昌紀遊畫冊　冊　嚴州	24	12	24
著錄細目	明董其昌紀遊畫冊　冊　蘭陽山	25	13	25
著錄細目	明董其昌紀遊畫冊　冊　溪山疏樹	26	13	26
著錄細目	明董其昌紀遊畫冊　冊　洞天岩	27	14	27
著錄細目	明董其昌紀遊畫冊　冊　大王峰	28	14	28
著錄細目	明董其昌紀遊畫冊　冊　北固山	29	15	29
著錄細目	明董其昌紀遊畫冊　冊　溪山村落	30	15	30
著錄細目	明董其昌紀遊畫冊　冊　栟櫚山	31	16	31
著錄細目	明董其昌紀遊畫冊　冊　望靈山	32	16	32
著錄細目	明董其昌紀遊畫冊　冊　隋堤煙柳	33	17	33
著錄細目	明董其昌紀遊畫冊　冊　遠岫樹石	34	18	34
著錄細目	明董其昌紀遊畫冊　冊　惠山寺	35	18	35
著錄細目	明董其昌紀遊畫冊　冊　西興暮雪	36	19	36
著錄細目	明董其昌紀遊畫冊　冊　紀遊畫冊題識	37	19	37

位置	尺寸(公分)
本幅	31.9x17.5

質地位置	質地
本幅	絹

類別	參考資料
內容簡介	董其昌（西元一五五五－一六三六年），字玄宰，號思白，江蘇華亭人。萬曆十七年（一五八九）進士，官至禮部尚書，諡文敏。天才雋逸，善書畫，富收藏，尤精鑑賞。臨摹書蹟，至忘寢食。行楷之妙，稱絕一代。董氏於萬曆十九年（一五九一）護送館師田公之喪歸葬，順道遊曆福建江南一帶名勝。翌年春還朝途中，阻風河道，舟中宴坐無事，遂畫以紀遊。畫上題跋以細楷書之，用筆鋒芒畢露，字勢靈動傾側，與米芾之小楷風格關傒密切。
內容簡介	此畫冊共十九開，最後一開左幅有董其昌題識，說明此為萬曆二十年（壬辰，1592）三月於舟中所畫。第二開右幅，描繪以三角狀山體環繞成一處谷地的景象。山際之間以濃綠筆墨描繪樹叢，山體坡面上先有墨筆皴線，再以淡綠暈染塊面。畫中構圖的手法，與黃公望〈九珠峰翠〉以山峰環繞谷地的處理相似。但是，在此畫中董其昌將下側河口部分緊收封閉，藉描繪樹叢以強調山谷的內收效果，如此一來，也將其山水構圖轉成更具平面組合變化的新模式。董其昌除了以筆墨追求古代傳統之外，也有意從構圖重新詮釋黃公望畫風。第五開左幅，此開畫幅山體構成與〈富春山居圖〉的中段山體十分相近，無論用墨皴筆，乃至於草木樹法等都與之相似。董其昌在京師期間（1589-1595）見黃公望〈富春山居圖〉，並於萬曆二十四年（1596）購得。董其昌曾自稱於二十多歲開始習畫，並以黃公望風格為主要學習對象。因公務往來京師、江南等地，順途觀覽、搜訪古書畫作品，為其書畫風格奠定豐厚基礎。第十一開左幅山水的構成也有〈富春山居圖〉之影響。筆墨帶有更多水氣，很能表現出山水的溫潤氣氛。山上小塊圓卵石層疊相接，也是黃公望山水常見手法。松江地區於十六世紀後半開始，如顧正誼、莫是龍等畫家都企圖超越文徵明以來的蘇州風格，進而直接上溯元四家，惟筆墨皴法仍顯得扭曲複雜。但在這類董其昌所繪製的黃公望風格山水中，筆墨的運用卻已顯得簡樸，與吳派風格相異。 (20110609)
內容簡介	董其昌（西元一五五五至一六三六年），字玄宰，號思白，華亭（今上海）人。萬曆十六年進士，官至禮部尚書。精鑒藏，工書善畫。山水宗董巨，集宋元諸家之長。倡南北宗論，以南宗為正統，對清代畫壇影響甚鉅。　　萬曆十九年（一五九一）辛卯，董其昌三十七歲，有閩中之行，翌年北上。此冊是經途所作，記沿路勝景。冊有米法雲山，或用李成、郭熙、黃公望筆意，雖曰寫景，實際是融自然景物於古人之筆法中，這是董其昌山水畫的一貫特色。
Description	Tung Ch’i-ch’ang, style name Hsuan-tsai, sobriquet Ssu-pai, was a native of Hua-t’ing, Kiangsu Province (modern Shanghai). He received the chin-shih degree in 1588, and he ultimately served in the Ministry of Rites. He was an astute connoisseur and an excellent painter and calligrapher. His landscapes followed the styles of Tung Yuan and the monk Chu-jan. His style incorporated the myriad styles of the Sung and Yuan masters. He categorized painting into the Northern and Southern Schools, and he established the orthodoxy of the Southern Schools. His theories had a profound influence on Ch’ing Dynasty painters. In 1591, when Tung Ch’i-ch’ang was thirty-seven years old, he was sent to Fukien Province. The following year, he returned to the north. This album presumably depicts the famous sites he saw during his journey. However, this album contains leaves depicting cloud mountains in the Mi style, as well as works in the styles of Li Ch’eng, Kuo Hsi, and Huang Kung-wang. Therefore, although these paintings are supposedly representational, they in fact are natural landscapes rendered in styles of earlier masters. This is one of the special characteristics of Tung’s paintings.
Description	This album (“Painting Album of Travels”) comprises nineteen folios, with the left side of the last one signed by Dong Qichang, who wrote that he did the paintings while on a boat trip in the third month of the equivalent of 1592. The right painting of the second folio (“Layer and Layers of Verdant Hills”) depicts a scene of triangular mountain forms surrounding a valley. Amongst the mountains are clusters of trees done in dark green and ink, the slopes of the peaks first rendered with brushed texture lines to which patches of light green washes were added. The compositional technique here is similar to the treatment of mountain peaks surrounding a valley in “Nine Pearly Peaks in Green.” Here, however, Dong Qichang has restricted and sealed off the river mouth at the bottom, depicting trees to emphasize the confined effect of the valley. As such, it gives the landscape composition a new mode of varied planar construction. Dong Qichang not only pursued ancient tradition via brush and ink, but also consciously created a new interpretation of Huang Gongwang’s style with the composition, too. The left painting of the fifth folio (“Layered Hills of Lofty Elegant”) has a mountain form very similar to that in the middle section of “Dwelling in the Fuchun Mountains.” In terms of ink and brush texturing, as well as the method of depicting the vegetation, all are similar to Huang Gongwang’s masterpiece. Dong Qichang was able to see Huang Gongwang’s “Dwelling in the Fuchun Mountains” while in the capital from 1589 to 1595, purchasing it in 1596. Dong Qichang himself once wrote that he had started to paint in his twenties, mainly studying the style of Huang Gongwang. He traveled to the capital and the Jiangnan area for official duties, taking the opportunity to view and search for ancient works of painting and calligraphy that would form a solid foundation for his own style. (20110609-E1)
Description	The left painting of the eleventh folio in the album (“Mt. Luming”) is a landscape construct that also reflects the influence of “Dwelling in the Fuchun Mountains.” The brushwork, however, is even wetter, further capable of expressing the moist atmosphere of the landscape. The small rounded rocks on top of the hills are connected together, a technique often seen in Huang Gongwang’s landscapes. In the Songjiang region starting from the latter half of the sixteenth century, such artists as Gu Zhengyi and Mo Shilong attempted to expand beyond the Suzhou style dominated by Wen Zhengming and go back directly to the Four Yuan Masters, though their brushwork and texturing still appeared somewhat contorted and complicated. But in this style of Huang Gongwang landscape that Dong Qichang has painted, the application of brush and ink is already unadorned, differing from that of the Wu School.(20110609-E2)
Description	Tung Ch'i-ch'ang (1555-1636) was a native of Hua-t'ing, Kiangsu province. His style name was Hsuan-tsai and he was known by the sobriquet Ssu-pai. He obtained the chin-shih degree in 1589 and went on to become the Minister of the Ministry of Rites. He was given the posthumous title Wen-min. Tung was exceptionally talented and accomplished as a calligrapher and painter; he was also a collector and an outstanding connoisseur. He frequently made free-copies and copies of old calligraphic works to the point that he would forget to eat or sleep. His ingenious semi-cursive and standard scripts were considered the best of his time. In 1591 while accompanying his teacher's coffin home for burial in the south, Tung traveled to famous locales in Fukien province and the Kiangnan region. The following spring while returning to the court, winds obstructed his waterway passage. Sitting idly aboard a boat, he painted a record of his travels. The inscription on the painting was written in thin standard script. The sharp edges of the brushstrokes are completely visible and the force of his characters is animated and slanting, revealing a style closely tied to the small standard script style of Mi Fu.
收藏著錄	故宮書畫錄（卷八）第四冊，頁141
收藏著錄	故宮書畫圖錄，第二十三冊，頁86-92
參考書目	〈明董其昌紀遊畫冊　冊〉，收入李玉珉、何炎泉、邱士華主編，《妙合神離-董其昌書畫特展》（臺北：國立故宮博物院，2016.01），頁16-21、374-375。
參考書目	1.陳韻如，〈明董其昌重巒疊翠、層巒聳秀、鹿鳴山〉，收入何傳馨主編，《山水合璧：黃公望與富春山居圖特展》（臺北：國立故宮博物院，2011年五月初版一刷），頁336-337。

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