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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編（寧壽宮），第五冊，頁2648
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁37-39
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收藏著錄 |
故宮書畫圖錄，第一冊，頁159-161
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參考書目 |
1.何傳馨，〈宋范寬臨流獨坐圖〉，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68-69。
2.林莉娜，〈宋范寬臨流獨坐圖〉，收入林莉娜編，《秋景山水畫特展圖錄》（臺北：國立故宮博物院，1989年十月初版），頁63-65。
3.馬孟晶，〈宋范寬臨流獨坐圖 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60-65。
4.馬孟晶，〈延續與變格 — 〈臨流獨坐〉與范寬風格〉，《故宮文物月刊》，第283期（2006年10月），頁14-21。
5.朴載碩，《傳范寬《臨流獨坐圖》之研究》，國立台灣大學藝術史研究所碩士論文，1993年。
6.許文美，〈宋范寬臨流獨坐圖〉，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258。
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內容簡介（中文） |
范寬（活動於西元十世紀末年－十一世紀初），陝西華原人，本名中正，字仲立。因性情寬厚，當時人稱之為范寬。畫山水師承李成、荊浩，後揉合各家長處，而形成自已的新法。
本幅山形輪廓多方折的線條，皴紋直勁有力，水墨層加漬染，用墨甚濃，有堅實厚重之感。林麓間留白作煙雲，與山石成虛實之呼應，凝重中有靈秀之韻。
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內容簡介（英文） |
Fan K’uan(style name Chung-li) was a native of Shensi. He first followed Li Ch’eng in landscape painting but also studied the works of Ching Hao. Later, he developed his own style. He was known for his magnanimous and forthright character.
This work depicts a massive mountain and deep valley enshrouded with layers of mist. In the trees and rocks, Fan’s brushwork is ruggedly powerful. For the mountain boulders, modeling was lightly added after the outlines were done, giving a great sense of depth and weight. The most outstanding feature lies in the areas of mist represented as blank silk. The void works as a foil against the heavier inked sections, leaving a sense of delicate harmony amidst the ponderous masses.
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內容簡介（中文） |
本幅具有典型北宋山水主山堂堂居中的雄偉構圖，畫中並無繪者款印，清代才歸於范寬（活動於十世紀後半－十一世紀初）名下。浮突的樹根、山頂的密林、粗礪的山石等，都明顯承繼自〈谿山行旅〉。但被切割的主山縮減了體積與量感，畫面充滿雲煙與山石的虛實對應，人物是獨坐岸邊、自覺性地觀照四周山水的文士，身分和與自然的關係都已與前作不同。畫中皴筆從范寬質樸直皴轉為側鋒刷染，已有斧劈皴意念，時代或稍晚於李唐。(20061206)
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內容簡介（英文） |
This painting is typical of the monumental landscape manner of the Northern Sung, with its central dominant mountain majestically centered in the composition. Although it does not have the seal or signature of the artist, it was not until the Ch’ing dynasty that the work was ascribed to Fan K'uan. Such features as the “floating” tree roots, dense mountaintop forests, and coarse rocks and mountains all clearly follow in the tradition of Fan K'uan's masterpiece “Travelers Among Mountains and Streams”. However, the truncated form of the main mountain reduces the sense of volume and capacity, the painting surface correspondingly being filled with a contrast of solid and void represented by rock forms and misty clouds. In addition, the figure of the scholar sitting alone by the riverbank consciously observing the landscape around him reveals an identity and relationship with nature that markedly differs from that in “Travelers Among Mountains and Streams”. The texture strokes here also have been transformed from Fan K'uan's simple and direct texturing into wash strokes with a slanted brush, somewhat reminiscent of later “axe-cut” texture strokes developed by Li T'ang, but here done slightly after him.(20061206)
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網頁展示說明 |
本幅無款，清代《式古堂書畫彙考》著錄為「范寬臨流獨坐圖」。與傳世范寬〈谿山行旅〉相較，山頂攢簇密林、山石輪廓墨濃且粗細多變化、樹木樹根浮突等特點，確近范寬風格。然從山水空間結構及筆墨來看，繪製年代推測為南宋初年。
畫中人物臨流獨坐，別於北宋山水畫點景人物多為市井小民。學者認為此畫山水作為人物居住及觀照的對象，反映兩宋之際士大夫默坐澄心的人格旨趣。
(20110913)
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網頁展示說明 |
This painting is unsigned, but Catalogue of Painting and Calligraphy in the Shigu Hall from the Qing dynasty records it as “Fan Kuan’s ‘Sitting Alone by a Stream.’” Compared to Fan Kuan’s surviving masterpiece of “Travelers Among Mountains and Streams,” the features of dense forests clustered on mountaintops, outlines of mountain forms in dark ink varying in thickness, and exposure of tree roots all indeed are in the Fan Kuan style. However, judging from the spatial construct of space and the use of brush and ink, it appears that the date of production is slightly later during the early Southern Song period.
In the work is a figure sitting alone by a stream, which differs from other Northern Song landscape paintings dotted with figures who are mostly commoners. Scholars believe that this landscape was an object of idealized dwelling that reflected the goal of purifying the mind by sitting quietly as practiced by scholars of the late Northern and early Southern Song.
(20110913)
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參考書目 |
劉芳如，〈宋范寬臨流獨坐圖 軸〉，收入《典範與流傳-范寬及其傳派》（臺北：國立故宮博物院，2015.07），頁94-105、324-325。
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參考書目 |
國立故宮博物院編輯委員會，〈宋范寬臨流獨坐圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁68-69。
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參考書目 |
林麗江，〈宋范寬臨流獨坐圖 軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁104-105。
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