清惲壽平仿古山水 冊
Landscape After the Ancient
繪畫
| 文物統一編號 | 故畫003196N000000000 |
| 作品號 | 故畫00319600000 |
| 品名 |
清惲壽平仿古山水 冊 Landscape After the Ancient |
| 分類 | 繪畫 |
| 作者 | 惲壽平 |
| 數量 | 一冊：十二開（本幅十二開十二幅） |
| 類別 | 集叢名稱 | 件 | 開 | 幅 |
|---|---|---|---|---|
| 著錄細目 | 清惲壽平仿古山水 冊 臨唐寅看梅圖 | 01 | 01 | 01 |
| 著錄細目 | 清惲壽平仿古山水 冊 吟詩坐隱 | 02 | 02 | 02 |
| 著錄細目 | 清惲壽平仿古山水 冊 春山欲雨 | 03 | 03 | 03 |
| 著錄細目 | 清惲壽平仿古山水 冊 仿趙承旨滄浪獨釣 | 04 | 04 | 04 |
| 著錄細目 | 清惲壽平仿古山水 冊 懸崖曲澗 | 05 | 05 | 05 |
| 著錄細目 | 清惲壽平仿古山水 冊 仿元人小景 | 06 | 06 | 06 |
| 著錄細目 | 清惲壽平仿古山水 冊 柳溪月色 | 07 | 07 | 07 |
| 著錄細目 | 清惲壽平仿古山水 冊 萬壑爭流 | 08 | 08 | 08 |
| 著錄細目 | 清惲壽平仿古山水 冊 蒼巖飛瀑 | 09 | 09 | 09 |
| 著錄細目 | 清惲壽平仿古山水 冊 仿關仝高峰雲起圖 | 10 | 10 | 10 |
| 著錄細目 | 清惲壽平仿古山水 冊 仿李營丘嶺路寒煙 | 11 | 11 | 11 |
| 著錄細目 | 清惲壽平仿古山水 冊 仿江貫道溪山暮雪 | 12 | 12 | 12 |
| 位置 | 尺寸(公分) |
|---|---|
| 本幅 | 25.2x32.4 |
| 質地位置 | 質地 |
|---|---|
| 本幅 | 紙 |
| 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 |
| 類別 | 參考資料 |
|---|---|
| 內容簡介 | 惲壽平（西元一六三三－一六九０年），江蘇武進人。初名格，字壽平，後以字行。詩文為毘陵六逸之首，繪畫與王時敏等人齊名，合稱四王吳惲。畫初學山水，後自覺無法與王翬爭勝，而專攻花卉。以徐崇嗣沒骨法參以己意，成為清代花卉宗師，有常州派之稱。 本冊畫山水十二幀，自題仿宋、元、明各家，款字稍弱。各幅取景或疏朗，或繁密，多用乾筆，淺絳設色，筆墨均具自身面目。通冊無論情境筆法，皆十分清雅宜人，充分表現惲氏向見之風貌。 |
| Description | Yun Shou-p’ing (original name Ko) was a native of Wu-chin, Kiangsu. His excellence in poetry and prose made him the leader of the Six Untrammelleds of P’i-ling, and his painting was equal in fame to that of Wang Shih-min (1592-1680) and others, who became known collectively as the Four Wangs, Wu, and Yun. It is said that Yun Shou-p’ing, early in his career as a landscape painter, felt that he could not compete with the master Wang Hui (1632-1717), and thus turned to specializing in flower painting. He derived inspiration from the “boneless” method of color washes developed by Hsu Ch’ung-ssu (fl. 11th c.) Yun became a model for other flower painters of the Ch’ing, founding the Ch’ang-chou School. Though Yun was a specialist in flower painting, the twelve leaves in this album represent landscapes done in styles from the Sung (960-1279), Yuan (1279-1368), and Ming (1368-1644) dynasties. Though the signature appears slightly weak, the scenes represented are all either very expansive or dense, having been mostly done in dry brushwork with light touches of color. Both brush and ink are very individualistic. The entire album, regardless of scene or brush mode, is very pure and elegant, fully expressing the manner of Yun Shou-‘ing’s style. |
| 收藏著錄 | 石渠寶笈三編（延春閣），第五冊，頁2197 |
| 收藏著錄 | 故宮書畫錄（卷八），第四冊，頁142 |
| 收藏著錄 | 故宮書畫圖錄，第二十四冊，頁124-127 |
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