| 基本資料 | 藏品類型 | 繪畫 |
| 文物統一編號 | 故畫001122N000000000 抽盤點紀錄 修護紀錄 more... | |
| 作品號 | 故畫00112200000 | |
| 品名 |
元方從義山水 冊 |
|
| 分類 | 繪畫 | |
| 作者 | 方從義 | |
| 數量 | 一冊：十四開（本幅十二開十二幅，前副葉二開二幅） |
| 典藏尺寸 | 【位置】 | 【尺寸】(公分) |
| 本幅 | 21.2x14.8 | |
| 對幅 | 21.2x14.8 | |
| 前副葉 | 21x29.1 |
| 質地 | 【質地位置】 | 【質地】 |
| 本幅 | 紙 | |
| 對幅 | 紙 | |
| 前副葉 | 紙 |
| 題跋資料 | 【題跋類別】 | 【作者】 | 【位置】 | 【款識】 | 【書體】 | 【全文】 |
| 題跋 | 清高宗 | 前副葉一、二 | 行書 | 山水清輝。 | ||
| 印記： 乾隆宸翰、懋勤殿鑑定章 | ||||||
| 題籤 | 清高宗 | 方方壺山水真蹟。逸品。 | ||||
| 印記： 乾隆宸翰 | ||||||
| 印記資料 | 【印記類別】 | 【印記】 |
| 鑑藏寶璽 | 乾隆御覽之寶 | |
| 鑑藏寶璽 | 乾隆鑑賞 | |
| 鑑藏寶璽 | 石渠寶笈 | |
| 鑑藏寶璽 | 三希堂精鑑璽 | |
| 鑑藏寶璽 | 宜子孫 | |
| 鑑藏寶璽 | 乾隆御賞之寶 | |
| 鑑藏寶璽 | 養心殿鑑藏寶 | |
| 鑑藏寶璽 | 嘉慶御覽之寶 | |
| 鑑藏寶璽 | 宣統御覽之寶 | |
| 鑑藏寶璽 | 宣統鑑賞 | |
| 鑑藏寶璽 | 無逸齋精鑑璽 |
| 參考資料 | 【類別】 | 【參考資料】 |
| 收藏著錄 | 石渠寶笈初編（養心殿），上冊，頁491 | |
| 收藏著錄 | 故宮書畫錄（卷六），第四冊，頁23 | |
| 收藏著錄 | 故宮書畫圖錄，第二十二冊，頁142-145 | |
| 內容簡介（中文） | 方從義（活動於西元一三三八—一三七八年），江西貴溪人。字無隅，號方壺。元末，入上清宮為道士，通性命之學，兼習畫山水。嘗遊觀天下名山，而畫益進。風格紹述自董、巨、二米，善用散筆破點，極為瀟灑，了無塵俗之氣。惟不輕易與人，故存世作品絕少。 山水冊頁十二對幅，右幅畫，左幅題句，間亦有無題者，幅內無作者名款，只鈐印記。各幅大抵先用散筆淡墨，再以較濃之墨隨意點綴人物景緻等，率略簡遠，韻致極高。 | |
| 內容簡介（英文） | Fang Ts'ung-i (style name Wu-yu, sobriquet Fang-hu) was a native of Kuei-hsi, Kiangsi province. At the end of the Yuan dynasty, he became a Taoist master at the Shang-ch'ing Temple. He studied fortune-telling and also practiced landscape painting. He often travelled to famous mountains, which he painted, and in painting he followed the tradition of Tung Yuan (f1. early 10th cent.), Chu-jan (f1. late 10th cent.), Mi Fu (1051-1107), and Mi Yu-jen (1086-1165). He often used irregular brushstrokes to paint texture strokes and dots, and his brushwork is unusua1, free, and quite out of the ordinary. Because he did not like to give his paintings away, extant works of his are rare. Twelve paired leaves of landscape paintings and calligraphy form this album. No signatures or inscriptions appear on the works, only the seals of the artist. Each of the paintings was executed first using light washes of background ink to which brushwork in darker tones was freely added to accentuate aspects of the scenery or the figures. The abbreviated and terse style produces an effect of utmost loftiness and harmony. |
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