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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787
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁49
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收藏著錄 |
故宮書畫圖錄，第二十一冊，頁13-20
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內容簡介（中文） |
沈源，乾隆時（西元一七三六－一七九五年）供奉內廷，善畫佛像，並工山水界畫。 沈源「清明上河圖」的構圖，與清院本「清明上河圖」幾乎相同，但以水墨為主，在用色方面，更只用赭色稍加鉤染，自有一番清新雅淡的韻味。用筆熟練，界畫橋樑、屋宇、人物皆極為精細工整，亦清畫院中之佳作。
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內容簡介（英文） |
Shen Yuan, a painter in the Imperial Academy of the Ch’ien-lung emperor (r. 1736-1795), excelled in painting Buddhist figures and was also skilled in landscape painting and architectural paintings in the ruled-line method (chieh-hua). Shen Yuan’s version of Along the River During the Ch’ing Ming Festival Season remarkably resembles the Ch’ing academy scroll in terms of composition, except that he has primarily used monochrome ink, only using umber for outlines. Through this, he has created a refreshing effect of elegance and grace. His brushwork is highly practiced, and the bridges and buildings depicted in the ruled-line method as well as the figures are all executed in great detail. This represents a fine example of court painting from the Ch’ing dynasty.
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內容簡介（中文） |
沈源，乾隆時（西元一七三六－一七九五年）供奉內廷，善畫佛像，並工山水界畫。 沈源「清明上河圖」的構圖，與清院本「清明上河圖」幾乎相同，但以水墨為主，在用色方面，更只用赭色稍加鉤染，自有一番清新雅淡的韻味。用筆熟練，界畫橋樑、屋宇、人物皆極為精細工整，亦清畫院中之佳作。(20100408)
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內容簡介（英文） |
Shen Yuan, a painter in the Imperial Academy of the Qianlong Emperor (r. 1736-1795), excelled in painting Buddhist figures and was also skilled in landscape and architectural themes in the method known as “ruled-line painting” (jiehua).
Shen Yuan’s version of “Up the River During Qingming” remarkably resembles the famed cooperative Qing academy scroll in terms of composition, except he has primarily used monochrome ink, with only umber for outlines. Through this, he has created a refreshing effect of elegance and grace. His brushwork is highly practiced, and the bridges and buildings depicted in the ruled-line method as well as the figures are all executed in great detail. This represents a fine example of Qing court painting.(20100408)
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網頁展示說明 |
沈源，生平籍貫不詳，善畫佛像，亦工山水界畫。乾隆時（1736-1795）供奉內廷，在《活計清檔》的記錄中，沈源最早的活動時期為乾隆元年，作品署款的年代，大都在乾隆十年左右，曾與唐岱合作《豳風圖》。其活動年代應為乾隆朝早期。
沈源《清明上河圖》的構圖與場景的安排，幾與《清院本清明上河圖》相同，只有一些枝微末節的增減，如在此卷前有掃墓哭墳的畫面，中段金蘭居的位置近似，但在店名、建築結構與畫法有所差異；其次在狀元府第的庭園景佈置亦略有不同，而富貴人家除了庭園有更動外，樓閣的結構也不同，亦無西式建築的樣貌；後段大木橋後的捕魚網罟前安排了一段狗兒打翻食擔的戲碼。此圖以水墨為主，在用色方面，更只用赭色稍加鉤染，自有一番清新雅淡的韻味。用筆熟練，界畫橋樑、屋宇、人物皆極為精細工整，亦是清代畫院佳作。(20100408)
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網頁展示說明 |
Shen Yuan, whose native place and years of birth and death are unknown, excelled at painting Buddhist subjects and also was good at landscapes and ruled-line subjects. He served the court during the Qianlong reign (1736-1795), and his earliest record of activity in the Qing Palace Workshop Archives mentions the first year of the Qianlong reign. Since most of his dated works are from around the tenth year of the Qianlong reign, and he once cooperated with Tang Dai (1673-1752) in illustrating the "Odes of Bin," Shen Yuan's period of activity was thus probably in the early Qianlong reign.
The composition and arrangement of scenes in Shen Yuan's "Up the River During Qingming" are almost identical to the Qing court cooperative version. Only a few minor changes were made, such as the scene of crying during tomb sweeping at the front of the scroll. The location of Gold Orchid Tavern is also similar, but the tavern name, structure, and method of depiction vary slightly. Small differences can likewise be found in the garden arrangement of the official's mansion. Other changes include the homes of the wealthy, pavilion structures, and the lack of Western-style architecture. There is also the arrangement of a humorous scene of a dog overturning a food pole before the netting fish activity and after the large wooden bridge. This work was done mostly in monochrome ink with only slight washes of umber used for coloring, giving it a light and refreshing quality. Shen Yuan's brushwork is skillful and the rendition of the ruled-line bridges, buildings, and figures all done with exceptional precision, making this another gem related to the Qing court academy of painting. (20100408)
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網頁展示說明 |
沈源の出生地や生涯についてはわかっておらず、仏畫を善くし、山水や界畫を得意とした。乾隆年間（1736-1795）に內廷に仕え、『活計清档』の記錄に基づくと、乾隆元年には既に活動していた。作品の署款の時期は乾隆十年前後に集中しており、唐岱と『豳風図』を共同で完成させている。このため、沈源の活動年代は乾隆朝の早期であったと思われる。
沈源の『清明上河図』の構図と場面の配置は、『清 院本清明上河図』とほぼ同じであり、細部における增減の違いだけが見られる。例えば前段の墓參の場面や中段の金蘭居の位置などは『清 院本清明上河図』とほとんど変わらないが、屋號や建築の構造、畫法が異なるほか、狀元邸宅の庭園の景観なども若干異なっている。さらに豪邸の庭園や楼閣の構造にも相違があり、西洋建築の特徵も沈源の作品には見られない。また、後段の大木橋の漁網の前には、犬が積んだ食べ物をひっくり返す場面が描かれている。本作は水墨を中心とし、紅褐色で軽く鉤染（輪郭を描いて彩りをする）を加えただけで、爽やかで淡雅な趣がある。用筆は熟練しており、界畫による橋梁、家屋、人物の描写はいずれも精緻であり、畫院の佳作である。(20100408)
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參考書目 |
1.童文娥，〈明仇英清明上河圖〉，收入童文娥主編，《繪苑璚瑤-清院本清明上河圖》（臺北：國立故宮博物院，2010年四月出版一刷），頁186。
2.陳韻如，〈製作真境：重估〈清院本清明上河圖〉在雍正朝畫院之畫史意義〉，《故宮學術季刊》，第28卷第2期（2010年冬），頁1-64。
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網頁展示說明 |
沈源，乾隆時（西元一七三六－一七九五年）供奉內廷，善畫佛像，並工山水界畫。
沈源〈清明上河圖〉的構圖，與清院本〈清明上河圖〉幾乎相同，但以水墨為主，在用色方面，更只用赭色稍加鉤染，自有一番清新雅淡的韻味。用筆熟練，界畫橋樑、屋宇、人物皆極為精細工整，亦清畫院中之佳作。
(20121016)
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網頁展示說明 |
Shen Yuan, a painter in the Imperial Academy of the Qianlong Emperor (r. 1736-1795), excelled in painting Buddhist figures and was also skilled in landscape and architectural themes in the method known as "ruled-line painting" (jiehua).
Shen Yuan's version of "Up the River During Qingming" remarkably resembles the famed cooperative Qing academy scroll in terms of composition, except he has primarily used monochrome ink, with only umber for outlines. Through this, he has created a refreshing effect of elegance and grace. His brushwork is highly practiced, and the bridges and buildings depicted in the ruled-line method as well as the figures are all executed in great detail. This represents a fine example of Qing court painting.
(20121016)
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網頁展示說明 |
沈源、乾隆時代（1736－1795）に宮廷に仕えた。仏像畫を善くし、山水畫にも優れていた。
沈源「清明上河図」の構図は、清院本「清明上河図」のそれにほぼ等しいが、主に水墨で描かれており、著色は赭色（赤褐色）でわずかに輪郭を取ったのみで、自ずと清新で上品な味わいをかもし出している。熟練の筆遣い、界畫による橋と家屋、人物など、全てが極めて精細かつ丁寧に描写されており、清代畫院の佳作である。
(20121016)
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參考書目 |
童文娥，〈清沈源清明上河圖 卷〉，收入童文娥主編《畫琳瑯—貨郎圖》（臺北：國立故宮博物院，2021.04），頁126-139、142-143。
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