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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1111
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁221
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收藏著錄 |
故宮書畫圖錄，第四冊，頁277-278
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參考書目 |
1.王耀庭，〈元倪瓚松林亭子〉，收入王耀庭主編，《傳移模寫》（臺北：國立故宮博物院，2007年初版），頁72。
2.蔣復璁，〈倪瓚松林亭子〉，收入國立故宮博物院編，《元四大家》（臺北：國立故宮博物院，1975年初版，1976年二版，1984年三版），頁50。
3.楊新，〈倪瓚《樂圃林居》考〉，《故宮博物院院刊》，總第144期(2009年第4期)，頁104-112。
4.陳韻如，〈元倪瓚松林亭子圖〉，收入何傳馨主編，《山水合璧：黃公望與富春山居圖特展》（臺北：國立故宮博物院，2011年五月初版一刷），頁332-333。
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內容簡介（中文） |
倪瓚（西元一三0一—一三七四年），字元鎮，號雲林，迂翁。家富饒，築清閟閣，蓄古書畫。善山水，為元四大家之一。 雲林絹畫甚少，此幅成於至正十四年（西元一三五四年），時年五十四歲，為本院所藏倪畫最早之一幀。畫筆多用中鋒，皴山以亂麻為主，蓋究心董源，蘧蘧然正當蝶化而出也。款書亦用圓筆，結體偏於長形，與老年之作稍異。
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內容簡介（英文） |
Ni Tsan was a native of Wu-hsi, Kiangsu. One of his sobriquets was Yun-lin, and he is known as one of the Four Masters of the Yuan dynasty. Paintings on silk by Ni Tsan are rare. This painting, executed when Ni was 54 years old, is the earliest of his works in the Palace Museum. Throughout the painting the artist uses an upright brush with the energy centered in the point. "Hemp-fibre" strokes have been employed to model the rocks. In executing this painting Ni probably had Tung Yuan in mind, so that the effect produced is a reminiscent yet transformed image of the Five Dynasties' master. An upright brush is also employed in the inscription, producing a style which differs in his more mature years.
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內容簡介（中文） |
黃公望在倪瓚〈六君子圖〉題詩之後不過十年光景，元末江南地區動亂頻起，黃公望大約此際前後過世，而倪瓚則於至正十二年（1352）放棄家業，輾轉飄泊於太湖流域。〈松林亭子〉是倪瓚於至正十四年（1354）為長卿作，構圖與〈六君子圖〉相近。但〈松林亭子〉的用筆方折，已非董源風格的圓渾用筆，而帶有一種元人理解之荊浩、關仝風格的折帶方筆，倪瓚逐漸融創出不同於前人的全新筆墨。(20110609)
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內容簡介（英文） |
Less than ten years after Huang Gongwang inscribed poetry on Ni Zan’s “Six Gentlemen,” the Jiangnan region in the late Yuan dynasty would experience repeated turmoil. Huang Gongwang died around this time, and Ni Zan in 1352 abandoned his family property, turning to a life of wandering the waters of the Lake Tai area. This painting was done for Changqing in 1354, the composition being similar to that of “Six Gentlemen.” However, here in “Kiosk Among Pine Trees” the brushwork is more angular, no longer reflecting the rounded brush manner of the Dong Yuan style. Instead, it incorporates a kind of Yuan dynasty understanding of the angular brushwork associated with the style of such artists as Jing Hao and Guan Tong. Ni Zan thus gradually created a fusion of various styles from the ancients for a completely new manner of brush and ink.(20110609)
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參考書目 |
劉宇珍，〈元倪瓚松林亭子 軸〉，收入劉芳如主編《巨匠的剪影─張大千120歲紀念大展》（臺北：國立故宮博物院，2019.04），頁70-71、324。
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參考書目 |
〈元倪瓚松林亭子 軸〉，收入李玉珉、何炎泉、邱士華主編《妙合神離-董其昌書畫特展》（臺北：國立故宮博物院，2016.01），頁236-237、395。
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