宋蕭照畫山腰樓觀 軸 蕭照 , 179.3x112.7

詳細資料

基本資料 藏品類型 繪畫
文物統一編號 故畫000085N000000000 抽盤點紀錄 修護紀錄
作品號 故畫00008500000
品名 宋蕭照畫山腰樓觀 軸
分類 繪畫
作者 蕭照
數量 一軸

典藏尺寸 【位置】 【尺寸】(公分)
本幅 179.3x112.7

質地 【質地位置】 【質地】
本幅

題跋資料 【題跋類別】 【作者】 【位置】 【款識】 【書體】 【全文】
作者款識 蕭照 本幅 蕭照 楷書

印記資料 【印記類別】 【印記】
鑑藏寶璽 嘉慶御覽之寶
鑑藏寶璽 嘉慶鑑賞
鑑藏寶璽 石渠寶笈
鑑藏寶璽 三希堂精鑑璽
鑑藏寶璽 宜子孫
鑑藏寶璽 寶笈三編
鑑藏寶璽 宣統御覽之寶
收傳印記 慧辯知賢印章
收傳印記 司印(半印)

主題 【主題類別】 【主題(第一層)】 【主題(第二層)】 【主題說明】
主要主題 山水
其他主題 山水 江河、湖海
其他主題 人物 行旅
其他主題 建築 寺廟
其他主題 山水 石磴、棧道
其他主題 人物 漁夫、船夫
其他主題 山水 瀑布
其他主題 樹木

技法 【技法】 【技法細目】
皴法 斧劈皴

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1479
收藏著錄 故宮書畫錄 (卷五),第三冊,頁76-77
收藏著錄 故宮書畫圖錄,第二冊,頁49-50
參考書目 1.許郭璜,〈宋蕭照畫山腰樓觀〉,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110-111。 2.〈宋蕭照山腰樓觀〉,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227。 3.陳韻如,〈畫山腰樓觀〉,收入何傳馨主編,《文藝紹興:南宋藝術與文化‧書畫卷》(臺北:國立故宮博物院,2010年十月初版一刷),頁357。 4.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。 5.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) 蕭照,濩澤(今山西陽城)人。頗有學識,亦好繪畫。靖康元年(西元一一二六年)於太行山與人結夥為盜。一日劫獲畫家李唐,乃放棄為盜,隨之南渡,於南宋高宗紹興元年(西元一一三一年)入畫院為待詔。 在畫幅中間絕壁處,有「蕭照」二字落款。從畫中斧劈皴法之運用,可看出其深受李唐之影響,不僅形似,神韻亦相當接近。
內容簡介(英文) Hsiao Chao, a native of Hu-ts'e (modern Yang-ch'eng, Shansi), was a learned man who practiced calligraphy and painting. In 1126, with the fall of the Northern Sung, he took to the T'ai-hang mountains as a bandit. After he met the famed artist Li T'ang, he abandoned his life of banditry and became Li's student. In 1131, Hsiao entered the painting academy under Emperor Kao-tsung. Hsiao Chao inscribed his name in the center to the right of the cliff face below the tree leaves. Above a moored boat, two figures stand pointing out to the vast misty landscape. Figures walk up to the buildings in the upper left. Hsiao is indebted to Li T'ang not only for the "axe-cut" texture strokes, but also for the overall spirit of this painting.
內容簡介(中文) 蕭照,(西元十二世紀)山西濩澤人。頗知書,亦善畫。靖康中流入太行山為盜,一日掠獲李唐,素慕唐名,即辭賊隨唐南渡,從唐學畫,紹興間入畫院。 高山見其半壁,溪流傍山,空曠清遠。畫法與李唐一脈相承,惟皴山筆法,與唐相較,差見變化耳。款書兩字,在舟子頭頂最高絕壁處。
內容簡介(英文) Streams cascade down the side of a high mountain, only part of which is visible on the left-hand side of the painting, while on the right a level plain stretches off into the distance. Hsiao Chao's painting methods were acquired from Li T'ang, but only his handling of the texture strokes that model the mountains can be compared with Li's; furthermore, Hsiao's subjects are not painted with the same versatility as his teacher's. The two characters of the artist's signature can be seen in mid-air below the tree that overhangs the cliff in the center of the painting. Hsiao Chao, a native of Huo-tse, Shansi, excelled at both calligraphy and painting, In 1126 he became a bandit in the T'ai-hang mountains. There he once captured in a raid the famous artist Li T'ang, whom he had long admired, and ended up following him to the re-established court in the South. Hsiao consequently studied painting with Li and in the Shao-hsing era(1131-1163) entered the Imperial Academy of Painting.
內容簡介(中文) 畫幅中央絕壁處外側,有「蕭照」二字款署。傳說北宋末年他於太行山為盜,一日劫獲李唐,才隨之習畫,後亦入南宋畫院。本幅左側畫山岩崖壁,岩塊多方折峻峭。由此中段山體延伸而出一平台岩塊,上立有二人相對與談,似正在遠眺對岸景緻。 此畫山體構成已脫去北宋大觀式山水巨障效果,而與李唐〈萬壑松風圖〉講究物象豐厚的近觀山水相近,藉堅實岩塊、迷茫遠山,營造出實、虛相對的景緻。(20101015)
內容簡介(英文) In this painting is one side of a central precipice along with a signature of two characters for “Xiao Zhao.” Legend has it that Xiao was a bandit in the Taihang Mountains in the late Northern Song when he tried to rob the fleeing court artist Li Tang, who taught him instead how to paint, and Xiao later entered the Southern Song Painting Academy as well. The left side of this work is composed of a soaring precipice with many sharp and craggy rocks. From the central part of the mountain form extends a rocky outcropping, upon which stand two figures talking with each other and appearing as if looking out and admiring the beautiful scenery on the distant banks. This work has already begun to depart from the majesty of Northern Song monumental landscape painting, being more similar to the up-close style of scenery focusing on the details and richness of forms as seen in Li Tang’s “Wind in Pines Among a Myriad Valleys.” With the solid rocks and misty distant mountains, it creates a beautiful scene of contrasting solids and voids.(20101015)
參考書目 〈宋蕭照畫山腰樓觀 軸〉,收入劉芳如主編《國寶再現-書畫菁華特展》(臺北:國立故宮博物院,2018.10),頁114-123、254-255。
參考書目 何傳馨,〈宋蕭照畫山腰樓觀 軸〉,收入《文藝紹興-南宋藝術與文化‧書畫卷》(臺北:國立故宮博物院,2010.10),頁178-179、357。
參考書目 國立故宮博物院編輯委員會,〈宋蕭照畫山腰樓觀 軸〉,收入《故宮書畫菁華特輯》(臺北:國立故宮博物院,1996.10),頁110-111。