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【參考資料】 |
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收藏著錄 |
石渠寶笈初編（重華宮），下冊，頁801
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁86
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收藏著錄 |
故宮書畫圖錄，第八冊，頁355-356
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內容簡介（中文） |
丁雲鵬（西元一五四五－一六二八年後），安徽休寧人。字南羽，號聖華居士。善道釋人物，白描細如游絲之作品似李公麟。於山水、寫生亦極精妙。山水構圖繁複，皴點細密，青綠山水則似文派作風。
本幅描寫六朝時人謝安放情丘壑，悠遊東山之事。構景與其萬曆己亥（一五九九年）所作廬山圖有相同處，應是同時或稍早之作。此畫峰巒層疊，樹叢濃鬱，山深林密，澗曲谷深，近似元代王蒙之風格。
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內容簡介（英文） |
Ting Yun-p'eng was a native of Hsiu-ning, Anhwei. His style name was Nan-yu, and his sobriquet was Sheng-hua chu-shih. He excelled at painting Buddhist and Taoist figures, specializing in the pai-miao (outline) style of Li Kung-lin. His landscapes and hsieh-sheng (painting from life) paintings were also excellent. His landscape compositions were complex and varied, and his texture strokes were finely detailed. His blue and green landscapes were depicted in the style of Wen Cheng-ming.
In this work, Ting Yun-p'eng has painted a scene of Hsieh An of the Six Dynasties Period (221-589) strolling idly on Mt. Tung. The work bears similarities to his Lofty Mt. Lu painting executed in 1599 and was either painted around the same time or slightly earlier. Layers of mountain peaks and ridges and a dense and verdant forest of trees have been painted in this scene. The dense forest deep in a mountain and curvy mountain stream in a valley are elements which are similar to the style of the Yuan master Wang Meng.
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參考書目 |
1.〈明丁雲鵬東山圖〉，收入國立故宮博物院編，《晚明變形主義畫家作品展》（臺北：國立故宮博物院，1977年九月初版），頁96。
2.李玉珉；〈心印毫生—丁雲鵬繪畫展〉，《故宮文物月刊》，第352期（2012年7月份），頁90-105。
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內容簡介（中文） |
本幅描寫謝安放情丘壑，悠遊東山之事。採全景式構圖，畫峰巒層疊，澗曲谷深，草木蔥蘢，蒼鬱深秀。山下長松林立，蒼勁挺拔。全作布局繁密，氣勢雄渾，以牛毛皴和苔點表現林巒鬱茂的景致，並通過溪流、雲靄等布置，於稠密中透出靈動的氣韻，深受王蒙的影響。
本幅款識雖未署年款，但此作的構景和用筆都與萬曆己亥年（1599）所作的〈廬山圖〉相彷彿，唯筆墨較為工整規矩，推測是稍早之作。
(20120715)
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內容簡介（英文） |
This work is an imaginary depiction of Xie An relaxing among valleys as he travels around Mount Dong. Using a full-scene composition, it depicts layers of ridges with deep winding ravines filled with trees and vegetation for a deep and hoary elegance. The pines below the mountains stand powerful and upright, the composition throughout dense with momentum and vigor. “Ox-hair” texture strokes and moss dots express the luxuriance of forested hills. And with the arrangement of the stream and mists, an air of spirited movement seems to emanate from the crowded scene, reflecting much of the influence of Wang Meng’s style.
No date is indicated in Ding Yunpeng’s signature, but the composition and brushwork here are similar to his 1599 depiction of “Lofty Mount Lu,” only that the use of brush and ink is neater and more regulated, thus suggesting a slightly earlier date.
(20120715)
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