參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈三編(乾清宮),第二冊,頁518
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收藏著錄 |
故宮書畫錄(卷四),第二冊,頁133-138
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收藏著錄 |
故宮書畫圖錄,第十七冊,頁289-296
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內容簡介(中文) |
黃公望(西元一二六九-一三五四年),富陽人。字子久,號一峰,又號大癡道人,晚號井西道人。山水以董源為宗,為元四大家之冠。 此卷為僧無用所作,於至正七年(一三四七)起草,其年正八十歲。得暇即畫數筆,其中因曾外出旅行,至至正十年(一三五0),尚未完成。本卷筆端變化鼓舞,聖而神矣。
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內容簡介(英文) |
Huang Kung-wang, a native of Kiangsu province, was a Taoist who, like his interest in calligraphy and music, practiced painting on the side. He specialized in landscapes and his works are based on the style of Tung Yuan, the famous 10th-century artist of rolling southern landscapes. Along with Wu Chen, Ni Tsan, and Wang Meng, Huang is considered one of the Four Great Masters of the Yuan dynasty. As the eldest, he is revered for his highly personal, calligraphic approach to painting. Depicted here is an idealized panorama of the Fu-ch'un mountains, west of Hangchow, to which Huang returned in his later years. The composition was first laid out in light ink and then finished with applications of dark and dry brushwork. Finally, brush dots were distributed across the work as abstracted accents for detail. Buildings, tree limbs and foliage were reduced to the simplest of forms. The brushwork also evokes Tung Yuan's "hemp-fiber" texture strokes, which is especially suited to the rolling landscapes of the south. Thus, this work represents the ideal of scholar art. This depiction of the Fu-ch'un mountains was painted for a fellow Taoist named Master Wu-yung and represents Huang Kung-wang's greatest surviving work. In his inscription, he writes that he created the design in a single outburst of inspiration. He then worked on the picture on and off when the mood struck him from about 1347 to 1350.
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內容簡介(中文) |
蒙元時道教頗盛,讀書人常受庇護。黃公望在仕途發展希望破滅,結束牢獄之災後便入全真教為道士,在江南地區傳道,與曹知白、倪瓚都有交情。他也教人繪畫,其《寫山水訣》可能即為講義。他的山水畫深受趙孟頫影響,但加上他對山水內在生氣的獨到領悟。本卷即為其中的巔峰之作,費時四年而成,其間修改痕跡仍存,更添其變化生發之趣。畫為鄭無用作,他也是道士,此可視為兩人論道的媒介。
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內容簡介(英文) |
The Yuan dynasty was a time when Taoism flourished and gave shelter to many scholars. Huang Kung-wang, having spent time in prison and with his hopes of an official career dashed, became a Taoist of the Full Truth Sect. He taught the Tao in the south-central Kiangnan region and became friends with such scholar-artists as Ts'ao Chih-po and Ni Tsan. He also taught painting, and "Secrets of Landscape Painting" may reflect his teachings. His landscape painting was influenced by Chao Meng-fu and his own enlightenment of the land. This scroll's depiction of fishermen as seen in his travels represents the culmination of his artistic career. Taking 4 years and finished in 1350, traces of his retouching are still seen, adding a dimension of time and thought. Done for Cheng Wu-yung, also a Taoist, it serves as a medium between the two.
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網頁展示說明 |
〈富春山居圖〉(無用師卷)由六紙接成,長逾六公尺,第一紙前有殘補痕跡。明末曾經火厄,裁裂前段部份現由浙江省博物館收藏。黃公望在至正七年(1347)偕道友鄭無用回到富春,歷三、四年作成此卷。畫卷筆墨堆疊層出,山石鉤勒皴染變化多樣。全卷山體從渾圓迫近、層疊後偃,平緩坡岸乃至聳峙山峰,具豐富的山水型態。此畫卷不僅是富春的隱居景致,更是黃公望探索自然造化後的理想山水形象。(20110609)
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網頁展示說明 |
''The Master Wuyong Scroll'' version of ''Dwelling in the Fuchun Mountains'' is composed of six joined pieces of paper and measures more than six meters in length. The first section of paper has traces of damage where repairs were done. Suffering from fire in 1650, the first part of the scroll was cut off (and now is in the Zhejiang Provincial Museum collection).
Together with his Taoist friend Zheng Wuyong, Huang Gongwang in 1347 returned to Fuchun, starting this handscroll and completing it three to four years later. The painting features layers of brush and ink, the landscape forms outlined and washed with great variation. The mountain shapes throughout the scroll range from rounded ones up close in layers stacked to the back to gently rolling slopes and banks, and even lofty peaks, revealing a rich variety to the landscape pattern. This handscroll painting not only represents scenery of reclusion in Fuchun, it even more so reflects Huang Gongwang's idealized image of the landscape transformed through his exploration of nature.(20110609)
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網頁展示說明 |
6枚の紙を繋げた「富春山居図」(無用師卷)は長さ6mを超え、1枚目の前に修復の痕が殘っている。明代末期に焼失の危機を免れてから裁断され、前半部分は浙江省博物館に収蔵されている。至正7年(1347)、黃公望は信仰を同じくする友人鄭無用とともに富春に帰り、3、4年の歳月を費やしてこの作品を完成させた。本作には層を成して重なり連なる山々が描かれており、鉤勒皴染の変化に富んでいる。作品全体の山々を見ると、丸みのある山が間近に迫り、重なる山々が後方に延びている。岸辺のなだらかな斜面から聳え立つ峰に至るまで、様々な山水の風景が描かれている。隱居暮らしを送った富春の風景のみならず、黃公望が求めた大自然の育んだ風景に続く理想の山水のイメージが描き出されている。(20110609)
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參考書目 |
1.許郭璜,〈元黃公望富春山居圖〉,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182-185。 2.江兆申,〈沈周題富春山居圖 卷〉,收入國立故宮博物院編,《吳派畫九十年展》(臺北:國立故宮博物院,1975年初版,1976年再版,1981年三版),頁298。 3.蔣復璁,〈黃公望富春山居圖(無用)卷〉,收入國立故宮博物院編,《元四大家》(臺北:國立故宮博物院,1975年初版,1976年二版,1984年三版),頁37-38。 4.許郭璜,〈黃公望富春山居圖〉,收入石守謙、葛婉章主編,《大汗的世紀:蒙元時代的多元文化與藝術》(臺北:國立故宮博物院,2001年初版),頁302-303。 5.童文娥,〈富春山居圖〉,收入林柏亭主編,《國寶菁華 — 書畫‧圖書文獻篇》(臺北:國立故宮博物院,2006年12月),頁206。 6.〈元黃公望富春山居圖〉,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62。 7.本刊資料室,〈乾隆與真假富春山居圖〉,《故宮文物月刊》,第10期(1984年1月),頁115 。 8.容天圻,〈富春山居〉,《故宮文物月刊》,第16期(1984年7月),頁102-107。 9.陳萬鼐,〈黃公望與富春山居卷的故事〉,《故宮文物月刊》,第38期(1986年5月),頁31-38。 10.魏美月譯,〈富有傳統色彩的山水畫 — 富春山居圖卷〉,《故宮文物月刊》,第38期(1986年5月),頁39-41。 11.許郭璜,〈元黃公望富春山居圖〉,《故宮文物月刊》,第100期(1991年7月),頁86-87。 12.王伯敏,〈富春江上畫中行 — 富春山居圖側記〉,《故宮文物月刊》,第109期(1992年4月),頁114-129。 13.費泳,〈論「富春山居圖」沈周題跋之真偽〉,《故宮文物月刊》,第207期(2000年6月),頁62-67。 14.丁義元,〈「剩山圖」質疑 — 兼論「富春山居圖卷」〉,《故宮文物月刊》,第216期(2001年3月),頁76-95。 15.許郭璜,〈行走於蒙元的藝廊裡 — 「大汗的世紀」特展 元黃公望富春山居圖〉,《故宮文物月刊》,第226期(2002年1月),頁45-46。 16.查永玲,〈「〈剩山圖〉質疑」之辯疑〉,《故宮文物月刊》,第255期(2004年6月),頁82-95。
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參考書目 |
17.張光賓,〈黃公望富春山居圖外的問題〉,《故宮季刊》,第九卷第四期(1975年夏),頁57-67。 18.張光賓,〈黃公望是否住過富陽問題〉,《故宮季刊》,第十二卷第四期(1978年夏),頁49-58。 19.李霖燦,〈故宮博物院的名畫寶藏(下)〉,《故宮季刊》,第十四卷第一期(1979年秋),頁77-92。 20.唐心怡,〈由王翬的《富春山居圖》摹本來看《子明》和《無用師》兩長卷的問題〉,《議藝份子》,第8期(2006年5月),頁79-97。 21.蘇玲怡,〈我們S4的南方憂鬱 不要政治,只愛江湖—元末文人畫四大家〉,《典藏古美術》,第216期(2010年9月),頁150-153。 22.陳韻如,〈元黃公望富春山居圖(無用師卷)〉,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302-304。 23.王小紅,〈氣清而質實 骨蒼而神腴—黃公望〈富春山居圖 剩山圖〉賞析〉,《故宮文物月刊》,第339期(2011年6月),頁18-24。 24.樓秋華,〈〈富春山居圖〉名考〉,《故宮文物月刊》,第339期(2011年6月),頁26-39。
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參考書目 |
25.徐復觀,〈中國畫史上最大的疑案—兩卷黃公望的富春山圖問題〉,《明報月刊》,第107期(1974年11月),頁14-24。 26.饒宗頤,〈富春山圖卷釋疑〉,《明報月刊》,第109期(1975年1月),頁14-20。 27.吳湖帆,〈元黃大癡富春山圖卷燼餘本〉,《明報月刊》,第109期(1975年1月),頁94-96。 28.饒宗頤,〈再談富春山圖卷〉,《明報月刊》,第110期(1975年2月),頁17-23。 29.徐復觀,〈中國畫史上最大的疑案補論—並答饒宗頤先生〉,《明報月刊》,第110期(1975年2月),頁24-31。 30.傅申,〈兩卷富春山居圖的真偽—徐復觀教授「大疑案」一文的商榷〉,《明報月刊》,第111期(1975年3月),頁35-46。 31.翁同文,〈踵論黃公望名下山居圖二卷問題〉,《明報月刊》,第112期(1975年4月),頁2-11。
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參考書目 |
〈元黃公望富春山居圖 卷〉,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24-29、375。
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參考書目 |
國立故宮博物院編輯委員會,〈元黃公望富春山居圖 卷〉,收入《故宮書畫菁華特輯》(臺北:國立故宮博物院,1996.10),頁182-185。
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