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【參考資料】 |
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內容簡介（中文） |
溥儒（西元一八九六－六三年），河北宛平人。字心畬，別署西山逸士。清宗室，恭親王奕訢之孫。幼即究心文學、書法、繪畫。其畫作係出自學，風格清逸出塵。時人譽為民國畫家之中，最能得傳統之精髓者。
本幅臨自日本高桐院所藏之李唐「山水圖」。原畫為絹本，溥氏以紙本臨寫，通幅運筆迅疾，近乎明代浙派風格。幅上款識「臨郭河陽筆」，當指樹枝部份之「蟹爪」筆法。
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內容簡介（英文） |
Landscape
P’u Hsin-yu (1896-1963)
Republican Period
P’u Ju, also known by his style name Hsin-yu, was a native of Wan-p’ing (modern Peking). He also used the name His-shan I-shih. A member of the Ch’ing dynastic family, P’u Hsin-yu was the grandson of I-shin, Duke of Kung. During his childhood, he devoted himself to the study of literature, painting, and calligraphy. He learned painting on his own and developed a pure and untrammelled style far removed from the ordianary. Of Republican period artists, he is considered the one most able to capture the spirit of traditional masters.
This painting is P’u Hsin-yu’s copy of a landscape painting by Li T’ang (ca. 1070s-1150s) in the Koto-in in Japan. The original painting was executed on silk, but P’u Hsin-yu used paper to paint his rendition. The brushwork is swift throughout the painting, and the style resembles that of the Che school of the Ming dynasty. P’u Hsin-yu has inscribed this painting, “copying Kuo His, ” and he has painted “crab-claw” tree branches in Kuo His’s style.
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內容簡介（中文） |
溥心畬（西元一八九六－一九六三年）之繪畫原無師承，係自習與臨摹而奠定基礎。雖擅長人物、花鳥、山水各種題材，在傳統文人畫觀念影響之下，還是偏重於山水畫。
溥氏曾臨習南北宗諸家山水，從作品來看，師法唐寅，上追馬遠、夏珪的風格居多。如「秋山晚色」用筆近似唐寅之挺健靈秀，「方壼雲山畫意」則追法馬遠、夏珪之蒼勁瀟灑。
至於「山水」以斧劈的筆勢，綜合南宗鬆秀的筆趣，另成新意。「天目山」之皴筆繁多，而強調折轉之筆趣，隱有追仿郭熙之意。「傑閣飛帆」為工謹之界畫，饒南宋院體臺閣畫之古意，故溥氏之山水，實亦兼融多家名筆之妙。
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內容簡介（英文） |
P’u Hsin-yu (1896-1963) learned painting through diligent copying of works by ancient masters and not through study under a teacher. Although he excelled in painting figures, birds and flowers, and other subjects, he mostly painted landscapes because he was influenced by the tradition of literati painters.
P’u Hsin-yu copied the works of artists in both the Southern and Northern schools of painting. From his own paintings, it is evident that he learned the style of T’ang Yin (1470-1535) and often pursued the styles of Ma Yuan (fl. 1190-1222) and Hsia Kuei (fl. 1190-1224). For instance, his brushwork in Autumn Mountains in the Evening is similar to T’ang Yin’s robust, facile, and elegant brushwork. In Cloudy Mountains in the Manner of Fang Ts’ung-I, P’u Hsin-yu imitated the tensile yet unrestrained brushwork of Ma Yuan and Hsia Kuei.
For Landscape, P’u Hsin-yu used axe-cut texture strokes adopted from the brush idea of the Southern school to create a new style. In Mt. T’ien-mu, P’u also ultimately derived his complicated brushwork characterized by many twists and turns from Kuo His (11th cent.). The precise, architectural-style of painting (chieh-hua) which P’u Hsin-yu used in Pavilion and a Sail Boat has its roots in the Southern Sung (1127-1279) court artists’ method of painting palaces and pavilions. P’u Hsin-yu thus incorporated into his landscape paintings many techmiques from ancient masters.
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收藏著錄 |
吉星福代表張振芳教授伉儷捐贈文物目錄，頁104、180
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