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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈初編（養心殿），上冊，頁642
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁26
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收藏著錄 |
故宮書畫圖錄，第一冊，頁99-100
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參考書目 |
1.林柏亭，〈五代南唐巨然層巖叢樹圖〉，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62-63。
2.陳韻如，〈五代南唐巨然層巖叢樹圖 軸〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁50-53。
3.〈五代南唐巨然層巖叢樹〉，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59。
4.林柏亭，〈五代南唐巨然層巖叢樹〉，《故宮文物月刊》，第200期（1999年11月），頁24-25。
5.傅申，〈巨然存世畫蹟之比較研究〉，《故宮季刊》，第二卷第二期（1967年十月)，51-79。
6.彭慧萍，〈兩宋"尚書省印"之研究回顧暨五項商榷〉，《故宮博物院院刊》，第141期(2009年第1期)，頁44-59。
7.林莉娜，〈五代南唐巨然層巖叢樹圖〉，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250。
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內容簡介（中文） |
巨然（活動於西元十世紀後期），江寧（今南京）人。開元寺僧，擅寫江南景色，師法董源，亡國後，隨李後主至北宋汴京。因巨然曾接受北方畫壇的影響，故而一變董源橫向發展的「平遠」山水而為立軸形式的「高遠」山水，但是用以描繪山巒的「披麻皴」與山頂山石的「礬頭」，仍是董巨派的特徵。另外，畫中使用淡墨，用以捕捉一抹雲嵐的氛圍，讓人想起煙雨江南，則不改其南方山水畫派的本質。
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內容簡介（英文） |
Chu-jan, a native of Chiang-ning (modern Nanking), was a monk at the K'ai-yuan Temple who painted Kiangnan scenery. A student of Tung Yuan, after the fall of the Southern T'ang, he followed the vanquished Li Hou-chu to the Sung capital K'ai-feng. Since Chu-jan came under the influence of the northern landscape style, his horizontal "level-distance" manner of Tung Yuan was adapted to become a vertical "high distance" one. Yet he still retained the Tung style of "alum heads" for mountaintops and "hemp-fiber strokes" to texture the hills. He also continued to use light ink to capture the atmosphere of cloudy hills to suggest Kiangnan shrouded in mist and rain, thus retaining aspects of the southern landscape tradition.
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內容簡介（中文） |
本幅山水自十七世紀以來即為評家指為巨然之代表作品。但此是否巨然親筆，因為款識資料，近代學者尚無定論。最近本院在畫面右上方發現「尚書省印」，該印出自十二世紀初，為本作之時代下限提供了新的參考。 與一般所見北宋山水畫不同，本作缺乏中、遠景的區隔，只對瀰漫著煙嵐的山中景致作近距離的描寫。北宋時存在著一種多軸連屏的形式，或許此軸正是某套成組山水的部份。(20061206)
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內容簡介（英文） |
Since the 17th century, this landscape painting has been regarded by connoisseurs as a representative work of Chu-jan. However, whether it was actually done by him, based on information in the inscription, has yet to be decided among modern scholars. Nevertheless, researchers working at the National Palace Museum have recently discovered a seal in the upper right part of the painting that reads, “Shang-shu sheng yin” (Seal of the Department of State Affairs). This official seal was used in the early 12th century, offering new evidence extending the date of the work back to at least this period. As opposed to features commonly seen in Northern Sung landscape paintings, this work lacks a clear distinction between the middle- and background, instead only depicting a short distance of the peaks pervaded by mist in the middleground scenery. In the Northern Sung there appeared a kind of multiple hanging scroll screen landscape presentation, and perhaps this work was originally part of such a set of such paintings in this formula.(20061206)
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內容簡介（中文） |
巨然（活動於10世紀後半），鍾陵（今南京）人。南唐滅亡，隨李後主降宋至汴京。工畫山水，師事董源，與師齊名，並稱董巨。
此軸表現江南林木挺勁、煙嵐繚繞的氣象，景物虛實變化巧妙。描繪鬆軟土石的披麻皴與山頭卵石的礬頭，皆為「董巨畫派」典型特徵。「之」字形路徑蜿蜒縈迴深入山中，增添了畫面的縱深感。詩塘上方明代董其昌將此圖定為「僧巨然真蹟神品」。
(20110913)
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內容簡介（英文） |
Juran was a native of Zhongling (modern Nanjing). After the Southern Tang was vanquished, he followed its ruler, Li Houzhu, in surrendering to the Song and going to its capital of Bianjing. Juran excelled at painting landscapes, studying with Dong Yuan and achieving fame equal to his teacher, hence becoming known together as “Dong-Ju.”
This painting exhibits the powerful forests of Jiangnan and its atmosphere of swirling mists and fog, the solid and void areas in the scenery are varied with marvelous effects. The rendering of “hemp-fiber” texturing for the soft earth and “alum heads” for the round rocks of the mountaintops are typical features of the “Dong-Ju Painting School.” A zigzagging path also meanders deep into the mountains, adding to a sense of depth in the painting. Dong Qichang in the mounted inscription on this painting wrote, “Authentic work in the ‘Spirited’ category by the monk Juran.”
(20110913)
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網頁展示說明 |
巨然（西元10世紀後半葉），南唐鍾陵人，開元寺的和尚。南唐被宋滅亡（西元975年）後，巨然隨李後主降宋，而遷至汴梁。擅畫山水，畫法學自董源。繼承其師之披麻皴（如麻布纖維散開來一般的筆觸表現）而自創山巒陰鬱層疊情景之畫格，被稱贊為造化之神。
此幅畫山徑曲折縈迴，穿過樹林深入山中。除林麓間、峰巒上有俗稱「卵石」或「礬頭」之群石之外，山石多以披麻皴法細膩描繪，筆筆沉著而帶潤澤之意。山間由下到上配以蒼鬱的樹林，巧妙地表現出深山沈潛的景觀。如董其昌「巨然真跡神品」題識所示，堪稱巨然畫中絕佳珍品。
(20110913)
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參考書目 |
〈五代南唐巨然層巖叢樹圖 軸〉，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258-261、397。
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參考書目 |
國立故宮博物院編輯委員會，〈五代南唐巨然層巖叢樹圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁62-63。
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參考書目 |
林麗江，〈五代南唐巨然層巖叢樹圖 軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁96-97。
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