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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編（寧壽宮），第五冊，頁2720
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收藏著錄 |
故宮書畫錄（卷四），第二冊，頁56
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收藏著錄 |
故宮書畫圖錄，第十六冊，頁285-296
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參考書目 |
1.〈傳宋夏珪長江萬里圖〉，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166。
2.譚怡令，〈大江東去浪淘盡千古風流人物 — 長江萬里圖特展概述〉，《故宮文物月刊》，第106期（1992年1月），頁108-123。
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內容簡介（中文） |
畫卷由右向左開展，從波濤洶湧到風平浪靜。有時兩岸狹隘，山石險峻，江水奔流急竄，有時遙岑水闊，煙籠霧約。人們浮舟江上，有急流勇進者；有繫纜倚岸，載卸貨物者。岸邊則有村墟旅店、亭閣寺宇，行人匆忙趕路，通幅充滿機趣。
樹石人物用筆遒勁，技法純熟，岩石用斧劈皴法皴擦，濃淡層次分明，這些都是典型的明代浙派風格，舊傳南宋夏珪(活動於十三世紀前半)作，並不正確。
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內容簡介（英文） |
This handscroll unfolds from right to left-from the turbulent waves upstream to the calm at the mouth of the river. The claustrophobic river gorge at the right is treaded by merchant boats that make their way to a village by the bank, which is also punctuated by an inn, pavilion, and temple. The movement of figures on land lends a sense of liveliness to the scroll.
The brushwork in the trees, rocks, and figures is taut and the technique mature. The rocks and cliffs are described with axe-cut texture strokes, and layers of wash are clearly differentiated. These are all features of the Che School of painting in the Ming dynasty (1368-1644). Thus, the traditional attribution to Hsia Kuei is not accurate.
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內容簡介（中文） |
畫江水舟行，筆意奇險，佈局亦佳。時而遠岸浮天，空濛浩闊；時而盤渦走險，寬僅容舟，頗能狀長江三峽之險峻。山石全用斧劈皴法，筆勢順成一向，多取側鋒，以力取勝，然含蓄內斂則稍嫌不足，可能出於明人仿夏圭畫風者所作。
夏圭（約活動於1195－1224年）字禹玉。錢塘人。與馬遠齊名，時稱馬夏。
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內容簡介（英文） |
Hsia Kuei (style name Yu-yu) was a native of Ch’ien-t’ang who served as a painter at the courts of Ning-tsung (r. 1195-1224) and Li-tsung (r. 1224-1264). He excelled at painting figures and landscapes. His brushwork was mature and he often employed moist layers of ink wash.
In this narrow hand scroll traditionally attributed to Hsia Kuei, distant banks seem to float in the sky as the water of the river dash about. In the ever changing scenery, here and there stand rocky promontories and scattered about are secluded villages and misty temples. The brushwork is energetic throughout as the landscape has been rendered with axe-cut texture strokes. The artist, holding the brush at an angle, used mostly slanted strokes in a grand and powerful manner. This scroll is comparable to another Hsia Kuei hand scroll in the Museum entitled “Pure and Remote Views of Streams and Mountains.” The brushwork here, however, is slightly stiff, indicating it is probably a later copy.
This painting was entrusted to the National Palace Museum by Mr. Wang Hsueh-t’ing.
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內容簡介（中文） |
此畫卷由右向左開展，從波濤洶湧到風平浪靜。或兩岸狹隘，山石險峻，江水奔流急竄；或遙岑水闊，煙籠霧約。人們浮舟江上，有急流勇進者；有繫纜倚岸、載卸貨物者。岸邊則有村墟旅店、亭閣寺宇，行人匆忙趕路，通幅充滿機趣。
本幅舊傳為南宋夏珪（活動於13世紀前半）之作，但樹石人物用筆奔放純熟，岩石用斧劈皴法皴擦，濃淡層次分明，皆為典型的明代浙派風格特徵。
(20110913)
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內容簡介（英文） |
This handscroll, unfolding from right to left, proceeds from turbulent waves upstream to a calm area at the mouth of a river. The claustrophobic river gorge features steep cliffs as waters rage forward. At the same time are open spaces of water enveloped in mists and fog. People make their way on boats on the river, some forging ahead against the swift current, while others have tied their boats to the shore and unload their goods. Village scenery by the bank is also punctuated by an inn, pavilion, and temple, the busy movement of figures on land lending a sense of liveliness throughout scroll.
The old attribution for this painting gives the artist as Xia Gui of the Southern Song. However, the brushwork for the trees, rocks, and figures is untrammeled and mature. Though the rocks and cliffs are rendered with “axe-cut” texture strokes, the layers of light and dark wash are clearly differentiated. These are all typical features of the Zhe School painting style in the Ming dynasty.
(20110913)
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