| 文物統一編號 |
故畫001243N000000006
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| 作品號 |
故畫00124300006 |
| 品名 |
名繪集珍 冊 宋閻次平松磴精廬
Pines and Stepped Rocks by a Refined Retreat |
| 分類 |
繪畫 |
| 作者 |
閻次平 |
| 數量 |
一幅 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
閻次平 |
本幅 |
閻次平 |
|
|
| 題籤 |
|
|
|
|
松磴精廬 |
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
|
項子京家珍藏 |
| 收傳印記 |
|
懋和真賞 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
山水 |
|
|
| 主要主題 |
樹木 |
松 |
|
| 次要主題 |
山水 |
江河、湖海 |
|
| 次要主題 |
建築 |
房舍 |
|
| 次要主題 |
建築 |
臺閣 |
|
| 次要主題 |
樹木 |
竹 |
|
| 其他主題 |
山水 |
山徑 |
|
| 其他主題 |
花草 |
|
|
| 其他主題 |
花草 |
藤蘿 |
|
| 其他主題 |
花草 |
蘆葦 |
|
| 其他主題 |
建築 |
欄杆 |
|
| 類別 |
參考資料 |
| 內容簡介 |
閻次平（活動於十二世紀末），為閻仲之子。隆興（西元一一六三—一一六四年）初，因進圖畫稱旨，授將仕郎畫院祗候。善繪山水、人物及牛，風格與李唐略近。 於紈扇式的畫幅中，寫湖中石磯林立，上築精舍，四週松竹環生，幅右石隙間，可見閻次平之小楷款書。通幅布局屬南宋習見之半邊式構圖，虛實相映下，益顯江天遼闊之致。本幅選自「名繪集珍」冊第六幅。
|
| 內容簡介 |
畫面右側山石塊面署「閻次平」款。元人稱其屬高宗、孝宗朝宮廷畫院。畫面右下繪一處山岩磯岸，岸際生長一株繁茂松樹，側有環山屋舍。隨之向上，蜿蜒山徑間可見兩個石蹬，再有四棵松樹聳峙，環繞另一處建築。畫面不見人蹤，卻一再流露可茲暢遊觀覽之意，畫面安排頗具詩情效果。此畫山石經墨筆皴擦凹凸，再有青綠敷染塊面，與〈奇峰萬木〉技巧相承，皆自李唐〈萬壑松風圖〉一系發展而成。(20101015)
|
| Description |
Appearing among the rocks in the right part of the painting here is the signature for “Yan Ciping,” who a Yuan dynasty author indicated as being active in the Painting Academy at court under Emperors Gaozong and Xiaozong. By the rocky shore in the lower right part rises a verdant pine tree, behind which are buildings set amongst the mountainous forms. A path behind them winds up to two stepped rocks, where four pines grow lofty as they encircle another area of buildings. Not a single figure is shown here, but plenty of places for traveling in the imagination are suggested, the painting surface arranged with a strong lyrical quality. The volumetric texturing indicated by the brush and ink for rendering landscape elements, to which blue-and-green washes to the rock forms have been added, derives from the technique seen in “Strange Peaks and Myriad Trees.” Both are developments on that seen in Li Tang’s “Wind in Pines Among a Myriad Valleys.”(20101015)
|
| Description |
Yen Tz'u-p'ing was the son of the painter Yen Chung. In the Lung-hsing era (1163-1164), he presented a painting to the emperor and was rewarded with an appointment in the Imperial Painting Academy. Yen was noted for his renditions of landscapes, figures and oxen, his style emulating though not surpassing that of Li T'ang (ca. 1049-after 1130). This work, the sixth from the album Ming-hui chi-chen, was executed in the shape of a circular fan. The scene depicts a rocky promontory out in a lake, where a villa stands surrounded on all sides by pines and bamboo. On the right side of the composition, one may observe the artist's signature in standard script on a rock. The composition is in an asymmetrical format often found in the Southern Sung, in which solids and voids are often juxtaposed. Here, the concrete reality of the villa and trees is contrasted effectively with the void or vastness of the water and sky, thereby achieving the appearance of great distance within a limited space.
|
| 收藏著錄 |
故宮書畫錄（卷六），第四冊，頁208
|
| 參考書目 |
1.李玉珉，〈閻次平松磴精廬〉，收入國立故宮博物院編，《宋代書畫冊頁名品特展》（臺北：國立故宮博物院，1995年初版一刷），頁258-259。
2.李玉珉，〈「七十件書畫冊頁名品特展」精選(二) — 閻次平松磴精廬〉，《故宮文物月刊》，第147期（1995年6月），頁70-72。
3.陳韻如，〈松磴精廬〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁359。
|
| 收藏著錄 |
故宮書畫圖錄，第二十九冊，頁166-169
|
| 參考書目 |
何傳馨，〈名繪集珍 冊 宋閻次平松磴精廬〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁185、359。
|
| 參考書目 |
許文美，〈名繪集珍 冊 宋閻次平松磴精廬〉，收入許文美主編《無聲詩-南宋的小品繪畫》（臺北：國立故宮博物院，2021.12），頁74-77、170-171。
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