| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁295
|
|
收藏著錄 |
故宮書畫圖錄，第六冊，頁105-106
|
|
內容簡介（中文） |
戴進（西元一三八八－一四六二年），浙江錢塘人。字文進，號靜庵，又號玉泉山人。曾入宮廷呈畫，以不得重用而南歸。畫風承襲南宋馬夏派與元朝李郭派，樹立明代浙派山水的風格。
蒼松翠壁，杏花點綴其間，士人會飲，醉意醺然。有徜徉於山徑、水濱者，亦有意猶未盡而繼續暢飲者。山石筆法靈巧活潑，遊人醉態的描寫極為生動。無畫家款印，筆墨風格已近浙派後期。
|
|
內容簡介（英文） |
Tai Chin was a native of Ch'ien-t'ang (modern Hangchow) who once served as a court painter. His talents overlooked, he later returned south to his hometown. His style followed the Southern Sung style of Ma-Hsia as well as the Li-Kuo tradition of the Yuan dynasty. His style formed the foundation of the Che school of landscape painting.
Among verdant pines and blossoming apricot trees, scholars gather here to partake of wine in an air of inebriation. Some stroll along paths or by water’s edge, while others drink to their content. The mountains are rendered with quick brushwork, and the tipsy scholars are quite convincing. This work bears no seal or signature of the artist and is probably a later Che school work in terms of style.
|
|
內容簡介（中文） |
戴進(1388－1462)字文進，號靜庵，又號玉泉山人，錢塘(今浙江杭州)人。父戴景祥善畫，永樂間隨父親到京師。戴氏初為銀匠，後改習畫，宣德中受推薦入宮廷供職，不得志歸於杭州，以畫為業。戴氏師承南宋李唐、劉松年、馬遠﹑夏圭的傳統，兼融兩宋各家之長，當時有「明畫手以戴進為第一」之說。因戴進是浙江人，故受其影響的畫風被稱為「浙派」。 此軸描繪的是春天社區的慶典結束後，回家的路上，喝得醉醺醺的人。圖中奇峰高聳，群松滿谷，由大而小，由近而遠。崖邊小路盤旋而上，白雲環繞其間，有茅屋、舟橋、村民點綴。繪山石大斧劈粗細轉折多，連皴帶染，具有強烈筆勢與墨色變化效果；人物衣摺線條用「蠶頭鼠尾」筆法，勁健灑脫。此巨軸反映出十五世紀浙派畫家追求直觀的平面裝飾趣味，與動態美感的典型作風。畫上並無畫家款印，若由其筆墨形式水準，確是浙派名家中的鉅作。(林莉娜)
|
|
參考書目 |
1.〈傳明戴進春酣圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁184-185。
2.張華芝，〈春酣圖〉，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209。
3.晉介塵，〈「戴進作品展」導讀 — 戴進春酣圖〉，《故宮文物月刊》，第209期（2000年8月），頁92-93。
4.廖堯震，〈消失的名字和歷史 — 院藏兩件浙派名畫的鑑定與研究〉，《故宮文物月刊》，第305期（2008年8月），頁16-31。
5.鄭文倩，〈化外醉鄉 — 〈春酣圖〉試析〉，《故宮文物月刊》，第308期（2008年11月），頁112-125。
6.張華芝，〈明戴進春酣圖〉，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314。
|
|
網頁展示說明 |
蒼松翠壁，杏花點綴其間，士人會飲，醉意醺然，呈現出民間百姓歡樂的氛圍。繪山石大斧劈粗細轉折多，連皴帶染，具有強烈筆勢與墨色變化效果；人物衣褶線條勁健灑脫。
本幅無名款，舊籤稱此乃開創「浙派」山水風格的戴進（1388－1462）所為。然據畫中嶙峋的山石結構和空間景深來看，其可能出自十六世紀浙派畫家之手。不過此軸筆墨精良，且高近三百公分，實為一件具代表性的浙派山水鉅作。
(20110913)
|
|
網頁展示說明 |
Verdant pines and emerald cliffs are dotted with apricot blossoms as scholars enjoy their drink. With signs of inebriation from getting drunk, this scene reveals the merry atmosphere of common folk enjoying themselves. Many variations to the thickness and angle of the “axe-cut” texture strokes are found in the painting of rocks and mountains. The interaction of texturing and washes creates for dramatic changes to the brush force and ink tones. The drapery lines for the figures are also strong yet free and easy.
This work bears no signature of the artist, but the old title label gives the painter as Dai Jin, founder of the Zhe School of landscape painting in the Ming dynasty. However, based on the jagged structure of the mountain rocks and depth to the space, this appears to have come from the hand of a sixteenth-century Zhe School painter instead. Nonetheless, the superior quality of the brush and ink in this hanging scroll, along with its large height of nearly 300 centimeters, make it a masterpiece representative of Zhe School landscape painting.
(20110913)
|
推薦
