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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈三編（延春閣），頁1549
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁113-114
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收藏著錄 |
故宮書畫圖錄，第二冊，頁283-284
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參考書目 |
1.李玉珉，〈吳彬陡壑飛泉〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁258。
2.〈明吳彬(原題名宋人)陡壑飛泉〉，收入國立故宮博物院編，《晚明變形主義畫家作品展》（臺北：國立故宮博物院，1977年九月初版），頁216。
3.陳韻如；〈明吳彬陡壑飛泉 軸〉，收入何傳馨主編，《狀奇怪非人間 吳彬的繪畫世界》（臺北：國立故宮博物院，2012年十月初版），頁080-083。
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內容簡介（中文） |
高聳的山峰矗立在畫幅中央，山嶺層層堆疊，山石的結構怪異，全作的構景離奇，恍如夢境一般。本幅並無作者款印，舊的典藏目錄稱，這是一幅宋代畫家的作品。可是從全作的構圖、山石的造型和筆墨的特徵看來，它很可能出自明末的畫家吳彬之手。吳彬(活動於1568-1627年)，字文中，一作文仲，號質先。福建莆田人，後來遷居金陵(今南京)，是明代山水、花鳥和佛教人物畫的名家。
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內容簡介（英文） |
Precipitous mountains and peaks rise vertically in this painting as they overlap one in front of another. The unusual flat peaks with repeated parallel texture strokes and dots have been arranged into a fantastic composition that looks like it comes out of a dream. This work bears no seal or signature of the artist, but it was previously catalogued as by an anonymous Sung dynasty artist. However, the composition, forms of the rocks, and the unusual brushwork suggest that it likely came from the hand of the late Ming dynasty artist Wu Pin (fl. 1586-1627). A native of Chekiang who later moved to Nanking, Wu was a famous painter of unusual landscapes, birds-and-flowers, and Buddhist figures.
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內容簡介（中文） |
此畫無作者名款，舊題為宋人陡壑飛泉，但以圖中樹石筆墨與構圖來看，極似明末吳彬一路畫風。
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內容簡介（英文） |
This painting has an old attribution to the Sung dynasty, but the technique, motifs and composition all strongly resemble the style of Wu Pin (ca. 1568-1621).
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內容簡介（中文） |
此軸無款印，原題宋人。畫中分前中後三段造景，前景以大樹立於坡石之上，中後景則描繪聳立山體，前後層疊。山體既有如石橋相連，又有山頭凸起如握拳，山腳間更瀰漫著雲霧，營造出不可思議的山水景觀。綜觀此畫，無論是山石造型、質面筆墨，乃至於樹叢的表現都與吳彬畫法十分接近，應是被後人誤認為宋畫的吳彬作品。畫上有孫克弘（1532-1611）收藏印章，可能即是最早收藏此畫者。
(20121018)
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內容簡介（英文） |
This painting bears no seal or signature of the artist and was originally ascribed to a Song dynasty (960-1279) artist. The composition is divided into fore-, middle-, and background scenery. The foreground features large trees on slopes, with rising mountain forms in the middleground forming layers of peaks that appear connected by stone arches. The mountaintops look like clenched fists, and the foothills are enshrouded in clouds and mists, creating a fantastic landscape scene. Overall, this painting, whether it be the mountain forms, texture of the brushwork, or even expression of the trees, is very close to the painting methods of Wu Bin. Thus, it should be a Wu Bin work that had been later mistaken for a Song dynasty landscape. A collection seal on the painting for Sun Kehong (1532-1611) suggests that he was perhaps the earliest owner of this work.
(20121018)
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參考書目 |
何傳馨，〈宋人陡壑飛泉 軸〉，收入《狀奇怪非人間-吳彬的繪畫世界》（臺北：國立故宮博物院，2012.10），頁80-83、216。
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