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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈初編（御書房），下冊，頁1139
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁242-243
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收藏著錄 |
故宮書畫圖錄，第五冊，頁85-86
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參考書目 |
1.童文娥，〈方從義高高亭圖〉，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309。
2.〈元方從義高高亭圖〉，收入國立故宮博物院編輯委員會編，《山水畫墨法特展圖錄》（臺北：國立故宮博物院，1987年七月初版），頁64。
3.本社，〈元方從義高高亭圖〉，《故宮文物月刊》，第29期（1985年8月），封底裡。
4.童文娥，〈行走於蒙元的藝廊裡 — 「大汗的世紀」特展 元方從義高高亭圖〉，《故宮文物月刊》，第226期（2002年1月），頁52。
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內容簡介（中文） |
方從義曾在一三四三年到北方遊歷，不只結交許多高官文士，在其間獲得名聲，更飽覽各地名山勝景，使他胸襟開闊，落筆不凡。同時代人對其畫技，皆以瀟散非世人所能及，明代畫評家王世貞論其畫與高克恭、倪瓚等人同列為「品之逸者也」 。如此幅鉤雲點苔，隨意不羈，風格簡逸，而山川精氣更在水墨精微中見出，體現元代道士藉山水追求清靜自然，心靈解脫之哲學，用筆草草，意境無窮。方從義亦以隸書和草書聞名，本幅以隸書題高高亭圖四字，筆意縱逸高古，款識則以草書為之。以濕筆點刷山峰、樹木，全不見皴痕，白雲迴繞，更添山勢之高聳。以筆墨濃淡製造出山壁、高山的質感與量感，而濃淡的變化，更顯水墨淋漓，為醉後之筆而渾然天成。 據畫上題識：「李君子高。昔於南谷丈人坐上會之。……」在元朝號南谷的有杜道堅 （一二三七－一三一八年），號南谷子，是杭州宗陽宮住持，為元朝最名有的道士之一。杜道堅與方從義之年歲相差甚多，可能方從義十多歲便學道，曾拜謁當時知名的杜道堅，而與李子高有一面之緣。（童文娥）
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內容簡介（中文） |
方從義（約1301-1378後），江西貴溪人。字無隅，號方壺。元末之際入上清宮為道士，通性命之學，品格高潔。畫山水師米芾（1051—1107）、高克恭（1248—1310），善用散筆破點，墨瀋淋漓，極為瀟灑，風格高古渾朴，了無塵俗之氣。另對詩文、古隸及章草皆有很深的造詣。斷崖峭立，林木挺秀，其顛草亭一人獨坐，下方道者持杖逶迤而至；背後雙峰聳峙山腰間白雲繚繞。通幅畫山畫樹，大皆以濕筆點刷，山石及崖壁不見皴痕，勾雲亦草草，而山魄樹魂，神氣皆在精微墨韻中流露出來。其趣致與宋之梁楷（活動於十三世紀上半葉）、明之徐渭（1521—1593）、清之八大（1626—1705尚在），屬同一脈系。畫左上方隸書「高高亭圖」，右方章草兩行云：「李君子高昔於南谷丈人坐上會之，今不遠百里求予圖此，已三年矣。醉後縱筆，寫之如此。方方壺。」蓋酒後揮灑，恣肆淋漓，心有所寄，而能從腕底陶融調勻，渾然天成。
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內容簡介（中文） |
方從義是元代後期江西龍虎山上清宮的正一教道士。在他早年修道過程，藉名山大川的遊歷來體認造化奧妙，並以其才學在北方結交許多朋友，如蒙古道士張彥輔與色目進士余闕。其作品大都是山水，多為道友而作。本幅畫贈李子高，也是道教因緣。「高高亭」畫名可能來自子高字號，可謂開後世以別號作圖先河。他的畫風變化多端，幾乎件件不同。本幅水墨淋漓，是醉後快速揮灑而成，尤見道教氣息。
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內容簡介（英文） |
Fang was a Taoist of the True One Sect at the Upper Purity Abbey on Dragon Tiger Mountain in the late Yuan. His early Taoist pursuits allowed him to experience the wonders of Nature in his travels. Through his studies, he made important friends in the north, such as the Mongol Taoist Chang yen-fu and the Central Asian scholar Yu Ch'ueh. Most of his works are landscapes and many of them were made for Taoist friends. This work was presented to Li Tzu-kao 李子高, whom Fang met because of Taoism. The title (Kao-kao t'ing 高高亭) in fact may relate to Li's name (kao meaning "high, lofty"), which would make it one of the earliest done on the basis of the recipient's name. Fang had many painting styles, seemingly different with every work. The wet ink here was applied quickly in a drunken state, thereby expressing the naturalness appreciated in Taoism.
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內容簡介（中文） |
方從義（約1301－1378後），字無隅，號方壺、上清羽士、鬼谷山人、金門羽客，是江西龍虎山上清宮道士。嘗藉遊歷名山大川，體認造化奧妙，故善畫山水。筆法簡潔奔放，自成一格。
方從義的作品多為道友所作，本幅畫贈李子高，也是道教因緣。〈高高亭〉畫名可能來自子高字號，可謂開後世以別號作圖先河。他的畫風變化多端，幾乎件件不同。本幅水墨淋漓，是醉後快速揮灑而成，尤見道教氣息。
(20110913)
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內容簡介（英文） |
Fang Congyi (style name Wuyou; sobriquets Fanghu, Shangqing yuren, Guigu shanren, Jinmen yuke) was a Taoist at the Upper Purity (Shangqing) Abbey on Dragon Tiger (Longhu) Mountain in the late Yuan dynasty. He experienced the wonders of Nature in his travels through famous sites, hence being able to excel at the painting of landscapes. His brush method was succinct and unbridled in a style of his own.
Most of the works by Fang Congyi are landscapes made for Taoist friends, and this painting was presented to Li Zigao 李子高, whom Fang had met due to their common ties in Taoism. In fact, the title of this painting (in Chinese, “Gaogao ting 高高亭”) might be a play on the last character in Li’s name (“gao,” meaning “high” or “lofty”). If so, this would make it one of the earliest paintings done on the basis of the recipient’s name. Fang had many painting styles that seem to differ with every work. The wet ink here was applied very quickly, as if in a drunken state, thus particularly expressing the natural state sought in Taoism.
(20110913)
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