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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編（養心殿），第九冊，頁4397
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁12
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收藏著錄 |
故宮書畫圖錄，第一冊，頁39-40
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內容簡介（中文） |
天寶十四年（西元七五五年）安祿山舉兵造反，陷長安，明皇幸蜀避之。畫中著朱衣者即明皇，騎三騣照夜白，出棧道飛仙嶺下，乍見小橋，馬驚不進。筆法精勁工細，青綠設色，絢燦華麗。有學者認為本幅係宋人據舊稿摹繪者。
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內容簡介（英文） |
In 755, rebel forces led by An Lu-shan succeeded in capturing the capital, Ch'ang-an. Emperor Ming-huang was forced to flee the capital, and he sought refuge in Szechuan.
In this painting, the figure wearing red clothing in the lower right corner is the emperor. Astride a horse with a braided mane, he rides along a mountainous path near towering peaks dotted with trees and interlaced with clouds. The emperor's horse is proceeding through the scene. The brushwork for outlining the forms in the painting is exquisite and taut, and mineral blue and green colors give it a jeweled effect.
Some scholars believe this is a faithful copy of the original by a Sung dynasty (960-1279) artist.
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參考書目 |
1.陳階晉，〈唐人明皇幸蜀圖〉，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50-51。
2.王耀庭，〈唐人明皇幸蜀圖〉，收入王耀庭編，《青綠山水畫特展圖錄》（臺北：國立故宮博物院，1995年七月初版一刷），頁76。
3.陳韻如，〈唐人明皇幸蜀圖 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142-151。
4.〈唐作者佚名明皇幸蜀圖〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁197。
5.陳韻如，〈〈明皇幸蜀圖〉畫意與風格的思考〉，《故宮文物月刊》，第273期（2005年12月），頁30-39。
6.李霖燦，〈山水畫中點景人物的斷代研究〉，《故宮季刊》，第十三卷第二期（1978年冬），頁25-40。
7.李霖燦，〈故宮博物院的名畫寶藏(下)〉，《故宮季刊》，第十四卷第一期（1979年秋），頁77-92。
8.李如珊，《臺北故宮本《明皇幸蜀圖》研究》，國立台灣大學藝術史研究所碩士論文，2006年。
9.楊元錚，〈談耿昭忠與安岐的兩方"珍祕"印〉，《故宮博物院院刊》，總第141期(2009年第1期)，頁60-63。
10.陳階晉，〈唐人明皇幸蜀圖〉，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238。
11.賴國生；〈院藏高劍父山水圖賞析〉，《故宮文物月刊》，第356期（2012年11月份），頁116-126。
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內容簡介（中文） |
清宮收藏目錄中原標此作為「宋人關山行旅圖」，但學者依據蘇軾《東坡題跋》等宋代資料，而改為今名，並推測是唐玄宗因安史之亂避幸四川之故實為畫作主題。 畫中山體的青綠設色與石質峭峰造型，確有唐代之源頭，但其華麗而細緻之敷染及精謹的線條運用，卻顯示出十一、二世紀仿本的特質。它的山體結構尤其接近出於十世紀末的《秘藏詮》版畫中的山水。據文獻所記，宋初四川亦多從事此風格，而被誤認為唐代李思訓作品者，今本是否屬此，值得考慮。無論如何，此作代表著北宋對古典傳統的繼承，十分具有重要性。(20061206)
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內容簡介（英文） |
In the art catalogue of the Ch'ing dynasty court collection, this work was originally labeled as “Traveling through a Mountain Pass” by an anonymous Sung artist. However, based on such Sung materials as Su Shih's Colophons of Tung-p'o, scholars changed it to the present title and suggested that the subject actually represents the story of the T'ang emperor Hsuan-tsung (Ming-huang) fleeing to Szechwan from the An Lu-shan rebellion. The blue-and-green coloring of the mountains here and the precipitous forms of the peaks indeed derive from those in T'ang dynasty works. However, the refined and opulent application of washes and the precise use of lines are features that refer instead to this being a copy perhaps done in the 11th or 12th century. The mountain structure here is actually similar to the landscape in the woodblock print Illustrated Palace Tripitaka done in the late 10th century. According to texts, the style associated with Szechwan in the early Sung was mostly like this and had been mistakenly regarded as the work of the T'ang master Li Ssu-hsun. Whether this painting belongs to this manner, however, remains to be determined. Nonetheless, it represents the Northern Sung continuity of classical traditions and is quite important.(20061206)
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網頁展示說明 |
此圖描寫唐天寶年間安祿山造反，兵陷長安，明皇（玄宗）幸蜀避亂一事，史載「出棧道飛仙嶺下，乍見小橋，馬驚不進」，即是此景，畫中著朱衣者即唐明皇。
〈明皇幸蜀圖〉亦稱〈摘瓜圖〉，相關畫題多見於宋元文獻，傳世作品中與之構圖相近的畫作眾多。本幅在畫法仍保留了唐至五代的繪畫特色，但形式上加入了宋人的山水結構理念。全作工整嚴謹，敷色妍麗，堪稱早期青綠山水中的經典佳作。
(20110913)
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網頁展示說明 |
This painting depicts what happened in the An Lushan Rebellion that took place in the Tianbao era of the Tang dynasty. Before rebel troops captured the capital of Chang’an (Xi’an), Emperor Minghuang (Xuanzong) escaped the chaos by taking an imperial journey to Shu (Sichuan). Historical records mention that the entourage crossed small bridges below lofty cascades on narrow plank paths so frightening that even the horses feared to go. Such a scene is depicted here, in which the red-robed figure is none other than Emperor Minghuang.
This painting is also known as “Picking Gourds,” and related paintings ascribed as such appear in Song and Yuan dynasty records, with many paintings surviving that are similar in composition to this work. The painting method of this work still preserves the stylistic features from the Tang dynasty to Five Dynasties period. However, in terms of form, it includes the idea of landscape structure from the Song dynasty. The work is carefully and meticulously done throughout with beautiful colors, making it worthy of being considered a classical masterpiece of early blue-and-green landscape painting.
(20110913)
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參考書目 |
林麗江，〈唐人明皇幸蜀圖 軸〉，收入邱士華、林麗江、賴毓芝主編《偽好物-16~18世紀蘇州片及其影響》（臺北：國立故宮博物院，2018.04），頁52-55。
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參考書目 |
國立故宮博物院編輯委員會，〈唐人明皇幸蜀圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁50-51。
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參考書目 |
林麗江，〈唐人明皇幸蜀圖 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88-89。
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