參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈三編﹝延春閣﹞,第四冊,頁1754
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收藏著錄 |
故宮書畫錄﹝卷五﹞,第三冊,頁293
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收藏著錄 |
故宮書畫圖錄,第六冊,頁95-96
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參考書目 |
1.〈明戴進溪橋策蹇〉,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168-169。
2.本社,〈戴進溪橋策蹇〉,《故宮文物月刊》,第52期(1987年7月),封底裡。
3.晉介塵,〈「戴進作品展」導讀 — 戴進溪橋策蹇〉,《故宮文物月刊》,第209期(2000年8月),頁86-87。
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內容簡介(中文) |
本幅畫半壁懸崖,草木鬱鬱,亂流奔湍;行人趕路,形色惶急。右半邊江面遼闊寧靜,遠山帆影,漁人神態甚為悠閒。 對角線的構圖方式,源自南宋院體,近景坡石用斧劈皴法,輔以墨染,營造出石之質感與立體感。整體而言,筆墨活潑,斧劈皴法或長或短,變化多端。此圖的筆墨形式,既反映了戴進的藝術淵源,也透露出其獨特的追求,是戴進由典雅空靈轉型至簡勁縱逸風格的代表傑作。
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內容簡介(英文) |
Half of a precipitous peak occupies this painting with dense vegetation and trees as well as a stream in the foreground. Travelers cross the bridge. The right half is filled with an expansive, peaceful river. Two boats sail in the distance, and a leisurely fisherman is in the foreground. The one-sided, diagonal arrangement derives ultimately from the Southern Sung (1127-1279) academic style. The foreground rocks are done with “axe-cut” strokes supplemented by washes of ink, creating a volumetric effect with texture. The variety of long and short strokes is lively. The brushwork reflects the origins of Tai’s style, but also a new direction. This masterpiece is a turning point from a classical style to an unbridled one.
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參考書目 |
劉芳如,〈明戴進溪橋策蹇圖 軸〉,收入《國寶的形成-書畫菁華特展》(臺北:國立故宮博物院,2017.10),頁252-257、324。
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