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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈初編（重華宮），下冊，頁793
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁186-187
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收藏著錄 |
故宮書畫圖錄，第四冊，頁225-226
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參考書目 |
1.許郭璜，〈元唐棣霜浦歸漁圖〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁49-52。
2.陳階晉，〈唐棣霜浦歸漁圖〉，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307。
3.高木森，〈唐棣其人其畫〉，《故宮季刊》，第八卷第二期（1973年冬），頁43-56。
4.林莉娜，〈元唐棣霜浦歸漁圖〉，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310。
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內容簡介（中文） |
唐棣（約西元1284-1354年），浙江吳興人。字子華，晚號遁齋。畫山水初學趙孟頫，後兼法韋偃、李成、郭熙，其中對郭熙用功最深。本幅繪漁翁三人，肩負網罟漁具，且行且語，滿載而歸。畫近景喬木所用之蟹爪枝與畫坡石之雲頭皴，均傳承自郭熙，而整體布局之平遠法，則源於李成。幅左款署至元戊寅（1338），時正值唐氏盛年，故筆筆勁挺，誠為其平生傑作。
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內容簡介（英文） |
T'ang Ti, a native of Chekiang, initially studied the landscape style of Chao Meng-fu, but later also turned to the styles of Wei Yen, Li Ch'eng and Kuo Hsi. His greatest achievements, however, were as a follower of the Kuo Hsi tradition. Here, three fishermen carry their gear as they converse while walking along a frosty bank. The crab-claw branches of the trees and cloud-head texturing of the slope in the foreground both derive from the style of Kuo Hsi. The flat distance composition, however, is from that of Li Ch'eng. The artist's inscription at the middle left dates the work to 1338, making it mature work. This is one of T'ang Ti's masterpieces marked by a powerful brush and composition.
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網頁展示說明 |
唐棣（約1284-1354年），字子華，晚號遁齋。吳興人。幼聰穎，年方弱冠，詩畫均為鄉人推重。初畫山水學趙孟頫，得其華潤森鬱之趣。繼窺郭熙，晚縱筆入韋偃，而其中對郭熙用力最深。 畫松樹二株，挺峙幾達於頂端，枯樹三株左右偃仰橫斜，秋樹四株穿錯雜於其中。漁夫三人，背著網罟負荷漁具，邊走邊談笑。中段為嵐霧橫隔，虛淡杳遠。石頭用雲頭皴，坡則略帶披麻，乾筆為多，運筆雖微用側勢，然大皆出以中鋒，輪廓線條均勻，故覺圓厚。巨石下緣近水處不施勾皴，形成上豐下銳，並狀水氣空濛，此乃法郭熙「早春圖」。背景用淡層層托染，墨色豐郁，使主景更顯突出。
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網頁展示說明 |
T'ang Ti, a native of Chekiang, initially studied the landscape style of Chao Meng-fu, but later also turned to the styles of Wei Yen, Li Ch'eng and Kuo Hsi. His greatest achievements, however, were as a follower of the Kuo Hsi tradition. Here, three fishermen carry their gear as they converse while walking along a frosty bank. The crab-claw branches of the trees and cloud-head texturing of the slope in the foreground both derive from the style of Kuo Hsi. The flat distance composition, however, is from that of Li Ch'eng. The artist's inscription at the middle left dates the work to 1338, making it mature work. This is one of T'ang Ti's masterpieces marked by a powerful brush and composition.
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網頁展示說明 |
唐棣（約1284-1354），字子華，湖州歸安（今浙江吳興）人。本幅繪秋末湖濱漁翁肩負網罟，滿載而歸的歡樂情景，反映漁民的生活。近景高昂挺拔的松柏宛如雙龍騰空，偃仰橫斜的秋樹夾雜其中，成功詮釋李成寒林的蟹爪枝，不過卻無郭熙雲頭皴的實體感。唐棣曾在江浙、皖南作官，將孤寂蕭瑟的李郭寒林轉化成濃厚的庶民生活氣息，此類畫風深受權貴賞識，在元代李郭畫派的傳承上立有一席之地。(20110913)
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網頁展示說明 |
Tang Di (style name Zihua) was a native of Gui’an in Huzhou (modern Wuxiang, Zhejiang). This painting depicts fishermen hauling their nets along a lakeshore in late autumn. This merry scene of returning from a rewarding outing reflects the ideal life of fishermen. The towering pine and cedar trees in the foreground look like two dragons soaring up to the sky with autumnal trees mixed in to emerge here and there. This work is a successful interpretation of the “crab-claw” branches in the wintry trees of Li Cheng’s painting, though it lacks the volumetric sense of Guo Xi’s “cloud-head” texture strokes. Tang Di once served as an official in Zhejiang and Wannan, transforming the bleak and desolate wintry trees of the Li Cheng and Guo Xi manner into animated scenery rich with the everyday life of ordinary people. This type of painting style was greatly appreciated by officials at the time, enjoying considerable status in the Li-Guo School of the Yuan dynasty.(20110913)
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