| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈三編（延春閣），第三冊，頁1477
|
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁73-74
|
|
收藏著錄 |
故宮書畫圖錄，第二冊，頁35-36
|
|
參考書目 |
1.王耀庭，〈宋李唐萬壑松風圖〉，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94-95。
2.何傳馨，〈宋李唐萬壑松風〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁93。
3.陳韻如，〈宋李唐萬壑松風圖 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102-105。
4.陳韻如，〈萬壑松風圖〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁200。
5.〈宋李唐萬壑松風〉，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224。
6.王耀庭，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁22-23。
7.李霖燦，〈李唐萬壑松風之衍思〉，《故宮文物月刊》，第48期（1987年3月），頁32-38。
8.王耀庭，〈宋李唐萬壑松風〉，《故宮文物月刊》，第100期（1991年7月），頁76。
9.李霖燦，〈故宮博物院的名畫寶藏(上)〉，《故宮季刊》，第十三卷第四期（1979年夏），頁69-83。
10.鈴木敬，魏美月譯，〈試論李唐南渡後重入畫院及其畫風之演變(上)〉，《故宮季刊》，第十七卷第三期（1983年春），頁57-74。
11.鈴木敬，魏美月譯，〈試論李唐南渡後重入畫院及其畫風之演變(下)〉，《故宮季刊》，第十七卷第四期（1983年夏），頁65-80。
12.《李唐萬壑松風》（台北：國立故宮博物院，1981）。
13.陳葆真，〈萬壑松風－談李唐〉，《古代畫人談略》（台北：國立故宮博物院，1978），頁9-13。
14.倪再沁，《李唐山水畫之研究》，中國文化學院藝術研究所碩士論文，1980年。
15.劉智遠，《李唐「萬壑松風」圖之研究》，國立臺南藝術學院藝術史與藝術評論研究所碩士論文，2002年。
16.廖堯震，〈微醺西湖畔，對影六七幅 南宋小景山水的詩情畫境〉，《典藏古美術》，第217期(2010年10月)，頁102-109。
17.陳韻如，〈宋李唐萬壑松風圖〉，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274。
18.陳韻如；〈兩宋山水畫意的轉折──試論李唐山水畫的畫史位置〉，《故宮學術季刊》，第二十九卷第四期（2012年夏），頁75-107。
|
|
內容簡介（中文） |
李唐（約一０四九-一一三０後，另一說約一０七０-一一五０後），河陽人，字晞古。北宋徽宗朝任職翰林圖畫院。靖康之難後，中原紛亂，李唐則在建炎年間（一一二七-一一三０）渡江至杭州。南宋紹興年間（一一三一-一一六二）高宗重建了畫院，李唐再入畫院，授成忠郎，為畫院待詔，賜金帶。 本幅是繼「谿山行旅」、「早春」之後，北宋山水的另一巨作，代表了山水畫邁入另一輝煌的階段。在主峰旁陡直的遠山上，題有「皇宋宣和甲辰春河陽李唐筆」款，此時為北宋宣和六年（一一二四），李唐已經步入高齡，但下筆所呈現出的氣勢，仍令觀者撼動。畫上的主峰布置在畫幅中央，兩旁有高低參差的插雲尖峰相襯，無論山崗、峭壁，造型沈穩厚重，巖面堅硬，紋理如同經過斧頭砍鑿，世稱「斧劈皴」。畫中構圖採高遠形式，使全畫氣氛肅穆，但李唐在構圖上擴大了近景林木的比例，縮小了主峰，使近景松林和觀者的距離接近，空間結構更為合理。李唐畫風承先啟後，實已開啟南宋近景山水的先聲。
|
|
內容簡介（英文） |
Li T'ang, a native of Ho-yang, is also said to have lived from about 1070 to after 1150. He served in the Hanlin Academy of Painting under Emperor Hui-tsung (r. 1101-1125) of the Northern Sung. Sometime between 1127 and 1130, after the fall of the Northern Sung in 1126 to northern invaders, Li escaped to the south, where the government became re-established as the Southern Sung (1127-1279) at Hangchow. There he re-entered the Painting Academy, which was set up during the period from 1131 and 1162. He went on to receive the title of Gentleman of Complete Loyalty and the prestigious Gold Belt. He also became a Painter-in-Attendance and was an important figure in court painting at the time. After the Museum's “Travelers Among Mountains and Streams” by Fan K'uan and “Early Spring” by Kuo Hsi of the Northern Sung, this is late Northern Sung masterpiece represents the next stage in monumental landscape painting of the period. Li T'ang's signature appears on a slender peak to the left and reads, “Painted by Li T'ang of Ho-yang in spring of the chia-ch'en year [1124] of the Hsuan-ho Reign of the Great Sung.” By this time, Li was already advanced in age, but his brushwork is still quite strong and inspired. With the main peak located in the center, clouds wrap around high and low peaks on either side. The cliffs and peaks are imposing and rugged, and their texturing was done using brush strokes similar to wood chopped by an axe (and hence became known as “axe-cut” strokes). Li T’ang employed a high distance compositional formula to make the atmosphere appear solemn. However, he also expanded the composition in front to include foreground woods and streams, which make the scene more intimate and closer to the viewer, and hence more comprehensible as a natural landscape. This trend towards closer visions continue in Sung painting, making this work an important forerunner of the intimate style of Southern Sung landscape painting.
|
|
內容簡介（中文） |
據最近的光學分析，此畫右側山峰上的款題，是在青綠敷色層下；推測墨書應為原款，時間在一一二四年。李唐為河陽人，曾入徽宗畫院，其時李唐正當盛年。約三十年後，又在南方重入高宗畫院，發展出影響深遠的大斧劈水墨風格。此作既為珍貴的李唐資料，亦可用以理解南北宋之變。 畫中山水刻意繞過郭熙，而重回更早的范寬模式。但重點已非主山的壯碩，而轉向描繪一個有松林流水的深邃山谷。藉光學攝影，針葉上濃重青綠清晰可判，而其後之山體亦原敷有赭石之色，可想其原有的清晰空間關係以及豐富的光影效果。配合著流泉、水花的細節，交織出一個充滿生命活力的境界。(20061206)
|
|
內容簡介（英文） |
The latest scientific study on this work shows the signature on a peak to the left appearing beneath the bluish-green wash. Suggesting the ink is original, it affirms the date as 1124. Li T'ang, native to Ho-yang, entered the Painting Academy under Hui-tsung at the prime of his career. About thirty years later, he re-entered the Academy after the Sung re-established in the south under Kao-tsung. The axe-cut texture strokes in ink that he developed strongly influenced later professional painting. Thus, this work offers precious evidence for Li T'ang's art and the transition from Northern to Southern Sung landscape painting. The landscape here consciously skirts past that of Li's predecessor Kuo Hsi and harks back to Fan K'uan. However, the focus is no longer the monumentality of the mountain, but rather the deep valley with windy pines and flowing water. Scientific photography clearly shows the pine needles were once covered with thick, dark green pigment and the original coloring of the mountains behind as being more ochre. As such, one can imagine the clear spatial definition and rich effect of light once evident here. The detailed interlacing combination of the flowing water and its spray also create a realm full of energy.(20061206)
|
|
網頁展示說明 |
畫幅左側山峰有「皇宋宣和甲辰（1124）春河陽李唐筆」的款署。李唐（約1049－1130後），字晞古，河陽（河南孟縣）人，活動於兩宋之際。
山間幽谷，松林鬱鬱茂生，泉水潺潺流動。山體雖層疊緊密，卻有空間深度。以小斧劈皴擦山石，再用深淺青綠烘染，形塑山石堅實又具潤澤感的獨特效果，深淺設色的松針則營造出繁盛動態之效果。近景松林與背後泉水山石重疊，顯示深遠表現的畫法。
(20110913)
|
|
網頁展示說明 |
On one of the peaks left of the main mountain is a signature that reads, “Brushed by Li Tang of Heyang in spring of the ‘jiachen’ year (1124) of the Xuanhe reign of the Great Song.” Li Tang (style name Xigu), a native of Heyang (Mengxian, Henan) was active from the late Northern to early Southern Song.
In a secluded valley grows a luxuriant forest of pines as a torrent of spring water flows downward. Although the mountain forms are layered densely, there is still a sense of space between them. With small “axe-cut” strokes to texture the mountain forms, to which washes of light and dark blue and green were added, the solidity and luster of the mountains form a unique effect. The light and dark coloring of the pine needles also creates a flourishing and dynamic effect. The pine forest of the foreground and overlapping water and mountain forms behind reveal a painting method that expresses deep distance.
(20110913)
|
|
參考書目 |
國立故宮博物院編輯委員會，〈宋李唐萬壑松風圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁94-95。
|
|
參考書目 |
劉芳如、浦莉安、陳韻如，〈宋李唐萬壑松風圖 軸〉，收入《鎮院國寶-范寬●郭熙●李唐》（臺北：國立故宮博物院，2021.10），頁104-137。
|
