參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編(重華宮),第三冊,頁1623
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收藏著錄 |
故宮書畫錄(卷四),第二冊,頁200
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收藏著錄 |
故宮書畫圖錄,第十九冊,頁169-170
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內容簡介(中文) |
文伯仁(西元一五○二-一五七五年),字德承,號五峰,長洲(今江蘇蘇州)人。文徵明的侄子。長於人物、山水畫,承襲沈周、文徵明,並師法王蒙。
攝山在江蘇江寧縣東北,一名棲霞山。約嘉靖三十四年(一五五五)文伯仁寓居此地白鹿泉庵,並與南京友人結茶社。此圖描繪由平地入山,經途所見,起首遠眺長江,中段棲霞寺隱於山麓,最後為白鹿泉庵,在重山峻嶺中,倍覺清幽。
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內容簡介(英文) |
Cottage at White Deer Stream, Mt. She
Wen Po-jen (1502-1575)
Ming Dynasty
Wen Po-jen was a native of what is now Soochow and the nephew of Wen Cheng-ming. He specialized in figure and landscape painting, following after Shen Chou and Wen Cheng-ming, and also studied the dense landscape style of Wang Meng.
Mt. She, in northeast Chiang-ning County, Kiangsu, is also known as Mt. Ch’i-hsia. In 1555, Wen established a residence there called the Cottage at White Deer Stream and formed a tea society with his Nanking friends. The scenery in this scroll proceeds from the plains to the hills. The beginning includes a distant view of the Yangtze River, followed by the Ch’i-hsia Temple hidden at the foot of the hills in the middle, and ending with the Cottage of White Deer Stream in elegant hills.
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網頁展示說明 |
約自嘉靖三十四年(1555)起,蘇州受到倭寇攻擊,文伯仁舉家避走南京,寓居於攝山白鹿泉菴附近。當時菴中僧人福懋,本為蘇州竹堂寺住持,亦屬文徵明交遊圈之一員,兩人與友朋常在菴中文讌詩會,稱盛一時。這幅畫或許便是為福懋所作。
文伯仁對於畫中景物視點的安排饒富趣味,以俯視描繪長江上數點風帆與南京城郊屋舍,與大名鼎鼎的棲霞寺,又以平視的角度描繪群山環抱的白鹿泉菴,巧妙地利用視角安排遠近景物,營造遠離塵俗、高逸不群的白鹿泉菴。(20100713)
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網頁展示說明 |
Starting from about 1555, when Suzhou came under attack by Japanese pirates, Wen Boren and his family sought refuge in Nanjing, taking up residence near Bailuquan Hermitage at Sheshan. At the time, a monk at the hermitage, Fumao (originally the abbot of Zhutang Temple) in Suzhou), was a member of Wen Zhengming’s circle. The two of them along with friends often held literary gatherings and poetry meetings at the hermitage, becoming famous events of the day. In fact, this painting may have been done for Fumao.
Wen Boren’s arrangement of perspectives for the scenery in this painting is also very interesting. For example, he takes a bird’s-eye view for depicting the boats sailing on the Yangtze River along with buildings on the outskirts of Old Nanjing and the celebrated Qixia Temple. He then takes a level perspective to render the mountains surrounding Bailuquan Hermitage, cleverly using this juxtaposition of far and near for the scenery to create a sense of removal from the bustling world, thus highlighting the lofty and untrammeled hermitage.
(20100713)
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網頁展示說明 |
蘇州は嘉靖34年(1555)頃から倭寇に襲撃されるようになった。そのため、文伯仁一家は南京に逃れ、攝山白鹿泉菴(庵)付近に寓居した。当時、その庵にいた僧侶福懋はもともと蘇州竹堂寺の住持で、文徵明の交友圏にあった(に当てはまる?)一人である。文伯仁と、その友人たちは菴でたびたび詩会を催し、その集まりが広く世に知られていた。本作は福懋のために畫かれたものだと言う說もある。
文伯仁は視点の配置が非常におもしろく、この作品では、長江に浮かぶ數隻の帆船と南京城郊外の家屋と、天下に名高い棲霞寺は俯瞰で描き、群山の懷に抱かれた白鹿泉菴は水平な視点で描いている。視覚的な效果を巧みに利用して遠近雙方の景物を配置し、極めて洗練された超俗的な白鹿泉菴となっている。(20100713)
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