| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1585
|
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁170-171
|
|
收藏著錄 |
故宮書畫圖錄，第四冊，頁5-6
|
|
參考書目 |
1.吳璧雍，〈高克恭春山晴雨〉，收入石守謙、葛婉章主編，《大汗的世紀:蒙元時代的多元文化與藝術》（臺北：國立故宮博物院，2001年初版），頁313。
2.林莉娜，〈行走於蒙元的藝廊裡 — 「大汗的世紀」特展 元高克恭春山晴雨〉，《故宮文物月刊》，第225期（2001年12月），頁28-29。
|
|
內容簡介（中文） |
高克恭（西元一二四八—一三一0年），其先回鶻人，占籍大同，後居武林。字彥敬，號房山老人，仕至刑部尚書。畫山水，學米氏父子，造詣精絕。 高房山畫，盛名蓋世，而流傳不多。此幅畫溪邊小景，雲影滿山，用筆極為含蓄，用墨亦溫婉蘊藉，極寧靜有味。無款，見李息齋題。
|
|
內容簡介（英文） |
Kao K'o-kung, of Uighur ancestry, was from Ta-t'ung but later lived in Wu-lin. His style name was Yen-ching and his sobriquet was Fang-shan lao-jen. He served as a minister of the Board of Justice. In painting landscapes he followed the Mi family style. An intimate mountain scene thick with clouds is rendered in subtle brushwork that is gentle yet dense, to produce a feeling of peaceful serenity. This work is unsigned, but Li Hsi-chai in his inscription on the painting has attributed it to Kao.
|
|
內容簡介（中文） |
高克恭（1248－1310），號房山。其先回鶻人，占籍大同，後居武林。字彥敬，號房山老人，仕至刑部尚書。畫山水，學米氏父子，造詣精絕。後學董源、李成、巨然筆法，專取寫意氣韻，亦擅長墨竹。
高克恭畫盛名蓋世，而流傳作品不多。此幅畫溪邊小景，雲影滿山，用筆含蓄凝練，用墨溫婉蘊藉，突出寧靜的氛圍。
(20110913)
|
|
內容簡介（英文） |
Gao Kegong (sobriquet Fangshan), of Uighur ancestry, was from Datong but later established residence in Wulin. With the style name Yanjing and the sobriquet Fangshan laoren, he served up to the post of Minister of Justice. In painting landscapes he followed the “Mi Family” style, achieving excellent results. He later studied the brush methods of Dong Yuan, Li Cheng, and Juran, attaining the sketchy harmony of their styles. He also excelled at painting bamboo in monochrome ink.
Gao Kegong enjoyed a great reputation, but few of his works have survived. This painting portrays an intimate streamside thick with clouds and mountains that fill the composition. The subtle brushwork is gentle and introverted, and the use of ink warm and full, producing a feeling of peaceful serenity.
(20110913)
|
