| 參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷六），第四冊，頁100-101
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收藏著錄 |
故宮書畫圖錄，第二十三冊，頁42-47
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內容簡介（中文） |
丁雲圖，生平不詳，但觀其作品無論構圖、筆墨皆與丁雲鵬（西元一五四七或一五四八年生，一六二八尚在）早年畫風相似，故疑為同一人。 此冊人物線描如行雲流水，造形則作變形處理。筆法纖細，佈局工整，設色淡雅，兼用青綠，頗有吳派風韻。後陳繼儒跋贊譽丁氏此冊人物超入精能，不讓仇英專美。自題此作於丁丑至戊寅圖成，故知本幅畫於西元一五七七至一五七八年之間。
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內容簡介（英文） |
Ting Yun-t’u’s birth and death dates remain unknown. Nevertheless, the composition and use of the brush and ink in his paintings all resemble the early style of Ting Yun-p’eng (1547 or 1584-after 1628). Thus, these two figures may be one in the same person. In the album, the outlines of the human figures are done in the pai-miao (plain-line) manner and appear like ˝running clouds˝ and ˝flowing water, ˝ resulting in numerous variations among the figures. The brushwork is fine and delicate, and the layout and coloring are light and elegant. Due to the use of blue-green, the coloring of this painting is similar to that of Wu School works. Ch’en Chi-ju (1558-1639), in his colophon, praises Ting’s mastery of brush and ink in representing figures, which he felt were not inferior to those of Ch’iu Ying (ca. 1494-1552).
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參考書目 |
1.李玉珉，〈明丁雲圖羅漢〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁80-81。
2.〈明丁雲圖羅漢〉，收入國立故宮博物院編，《晚明變形主義畫家作品展》（臺北：國立故宮博物院，1977年九月初版），頁52-53。
3.李玉珉；〈心印毫生—丁雲鵬繪畫展〉，《故宮文物月刊》，第352期（2012年7月份），頁90-105。
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內容簡介（中文） |
此冊前十六幅設色繪羅漢，末幅白描畫韋馱。羅漢畫的傅色明麗，繪製精謹，人物衣紋線條細若游絲，筆筆遒勁有力。人物身後的山水背景、畫樹點葉的方式，均流露出濃厚的吳派風韻。今選十五幅展出。
據末幅款識，此冊乃萬曆丁丑至戊寅（1577-1578）丁雲圖所為。丁雲圖畫史未載，但此作的構圖、筆墨和設色皆與丁雲鵬早年畫風相似，且作者鈐印中又發現「文舉之印」一印，後副葉王穉登的題跋亦稱此乃「丁山人南羽為青蓮居士顧仲修作」，故今歸於丁雲鵬名下。
(20120715)
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內容簡介（英文） |
The first sixteen leaves in this album depict lohans in color, the last leaf portraying the guardian Skanda in monochrome ink. The coloring of the lohan paintings is bright and the rendering carefully done. The figures’ drapery lines are as fine as silk, each stroke powerful and vigorous. The landscape backgrounds for the figures along with the trees and leaves all reveal strong traces of the Wu School style of painting. Fifteen leaves have been chosen for this exhibit.
Judging from the signature on the last leaf, this album apparently was done between 1577 and 1578 by Ding Yuntu, who is not mentioned in painting histories. However, the compositions, use of brush and ink, and coloring here are all similar to the early style of Ding Yunpeng. Moreover, among the seals here is one that reads “Seal of Wenju,” referring to a style name used by Ding Yunpeng. Furthermore, the colophon on the endleaf by Wang Zhideng states that this work “was done by Ding Shanren, Nanyu, for Gu Zhongxiu, Qinglian jushi,” Nanyu being another style name of Ding Yunpeng. Thus, this album should be ascribed to Ding Yunpeng instead.
(20120715)
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