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【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁18-19
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收藏著錄 |
故宮書畫圖錄，第一冊，頁75-76
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參考書目 |
1.胡賽蘭，〈五代南唐董源洞天山堂〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁60-61。
2.王耀庭，〈五代南唐董源洞天山堂〉，收入王耀庭編，《青綠山水畫特展圖錄》（臺北：國立故宮博物院，1995年七月初版一刷），頁77-78。
3.何傳馨，〈五代南唐董源洞天山堂〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁92。
4.〈五代南唐董源洞天山堂〉，收入國立故宮博物院編輯委員會編，《山水畫墨法特展圖錄》（臺北：國立故宮博物院，1987年七月初版），頁58-59。
5.王耀庭，〈傳董源〈洞天山堂〉、〈龍宿郊民〉初探〉，《故宮學術季刊》，第二十三卷第一期（2005年秋），頁225-240。
6.陳昱全，〈傳董源〈洞天山堂〉的畫風、成畫時代與製作脈絡〉，《故宮文物月刊》，第339期（2011年6月），頁78-91。
7.鄭淑方，〈五代南唐董源洞天山堂〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁248。
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內容簡介（中文） |
董源（西元十世紀），字叔達，江南鍾陵人。事南唐為北苑副使。善畫山水，多寫江南真山，不為奇峭之筆。此畫由王鐸鑒定為董源。其景雲壑幽深，曲澗迤邐，真覺深山大澤，有陰寒逼人之勢。米襄陽稱述董畫，謂其峰巒出沒，雲霧顯晦，不裝巧趣，皆得天真。嵐色蒼鬱，枝幹挺勁，咸有生意，此圖彷彿可以見之。
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內容簡介（英文） |
This scene of cloud-filled gorges and winding, cascading mountain torrents is genuinely infused with the permeating dampness of the deep mountains; it possesses an awesome feeling of chill and shadow. Mi Fu praised Tung Yuan’s works, saying that his ridges and peaks alternately appear and disappear; his mists and clouds, reveal and conceal. These unmannered effects are produced with great naturalness. The shading of the mists is dense and thick, while the trunks and branches of trees stand firmly upward. Everything is imbued with vitality. These qualities are likewise depicted in this work. This painting was attributed to Tung Yuan by the seventeenth century connoisseur Wang To. Tung Yuan (style-named Shu-ta), a native of Chung-ling in the Kiangnan region, served as an official in the Southern T'ang court. He excelled at landscapes and was also skilled in painting oxen, tigers, dragons, and water. His landscapes reflect, not an eccentric imagination, but the actual scenery of the Kiangnan region.
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網頁展示說明 |
此幅描繪巨壑深溝，白雲圍繞，長皴短點相間以狀寫山石，復以濃墨敷染，更顯渾雄蒼鬱，頗有撼人之勢；左側殿宇聳立，右邊曲澗迤邐，山間行旅或趕路或臨橋聽泉，景致幽深雅靜，點出世外仙境的主題。
本幅無款，依王鐸的題跋將作者定為董源。董源（活動於10世紀上半），江南鍾陵（今江西南昌附近）人，善寫江南山水，影響後世山水畫發展甚鉅。從筆意觀之，此作成畫時間約在元代。
(20110913)
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網頁展示說明 |
This painting depicts a large valley deep and broad with white clouds circling about. Long hemp-fiber strokes and short dots alternate to form the mountain forms, to which dark ink and washes were added to make them more powerful and hoary that gives them force. Rising on the left are palatial buildings and on the right is a winding ravine, the travelers in the mountains making their way along or arriving at a bridge to listen to the water. The scenery is remotely serene and elegantly peaceful, highlighting the theme of a realm of immortals apart from the world.
This painting is unsigned, but Wang Duo’s inscription gives the artist as Dong Yuan. A native of Zhongling in Jiangnan (near modern Nanchang in Jiangxi), Dong Yuan excelled at painting Jiangnan landscapes, having an enormous influence on later developments in Chinese landscape painting. Judging from the brush manner, this work appears to date from approximately the Yuan dynasty.
(20110913)
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參考書目 |
國立故宮博物院編輯委員會，〈五代南唐董源洞天山堂 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁60-61。
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參考書目 |
許文美，〈五代南唐董源洞天山堂 軸〉，收入《何處是蓬萊-仙山圖特展》（臺北：國立故宮博物院，2018.06），頁80-83、165。
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