| 參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編（獅子林），第七冊，頁4027
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁216-217
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收藏著錄 |
故宮書畫圖錄，第四冊，頁279-280
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研究性論著 |
倪瓚（西元1301－1374年）﹐字元鎮﹐號雲林﹑迂翁﹐江蘇無錫人。家富饒﹐嘗築清閟閣﹐以蓄藏古書畫。好學﹐工詞翰﹐善書畫。好寫汀渚遙岑﹐小山竹樹等平遠景。晚年喜畫竹﹐以寫胸中逸氣。
此畫為倪瓚六十三歲（1363）作﹐由畫上題詩﹐知為贈行而作﹐受贈者由水路去會稽﹐因而畫舟中望兩岸之景。款上稱「並寫江岸望山圖奉送惟允友契之會稽」﹐惟允為陳汝言之字﹐但「惟允」二字﹐與其他題詩之字比較起來﹐筆蹟不似﹐疑係後人妄改﹐藉以增加此畫之身價。
倪氏早年從董巨入手﹐五十幾歲時，山石全用披麻長皴﹔至六十歲則漸入荊關，筆簡氣壯。晚年則是明顯的折帶皴法﹐呈現靜穆蕭疏的風格。本幅畫高樹空亭﹐隔岸望山﹐山上長皴﹐未成折帶﹐利用苔點﹑深淺皴法及留白的運用﹐將山石立體實感呈現而出﹐氣勢雄壯，與其晚年渴筆皴擦之冷峻堅實的山石較不同。清吳升曾評此畫：「皴法全用大披麻﹐得巨然神髓。迂翁畫大抵平遠山峰﹐不多作樹﹔似此高崖峭壁﹐具太華削成之勢﹔大小樹點葉紛披﹐都非向來面目﹐乃知此翁繪妙中掃空蹊徑﹐有如許大手筆也。」（註1）此畫曾經由卞永譽﹑梁清標及安岐等鑒藏家所庋藏。（童文娥）
註1：吳升﹐《大觀錄》（四）（台北﹐國立中央圖書館﹐1970）﹐卷十七﹐頁2117。
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參考書目 |
1.蔣復璁，〈倪瓚江岸望山圖〉，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52。
2.童文娥，〈帝國的回憶 國立故宮博物院瑰寶赴法展專輯二 — 倪瓚江岸望山〉，《故宮文物月刊》，第186期（1998年9月），頁34-35。
3.陳葆真，〈從陸治的《溪山仙館》看吳派畫家摹仿倪瓚的模式 〉，《國立臺灣大學美術史研究集刊》，第1期(1994)，頁205-297。
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內容簡介（中文） |
倪瓚（西元一三0一至一三七四年），字元鎮，號雲林、迂翁，江蘇吳鍚人，家富饒，築清閟閣，蓄古書畫，善山水，為元四大家之一。 此畫倪瓚六十三歲（西元一三六三年）作。山上長皴，未成折帶；遠樹橫點，神似大痴。蓋雲林本學董源，而又幼於黃公望三十三歲，故不能無影響也。此畫本為贈行而作，受畫者由水路往會稽，故所畫係舟中望兩岸之景，受畫者為誰，已不可知。上款惟允二字，係畫商妄改，藉增此畫身價。
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內容簡介（英文） |
Ni Tsan, style name Yuan Chen, sobriquet Yun-lin, was a native of Wu-hsi, Kiangsu. He came from a wealthy family and built the Ch'ing-pi-ko to house his collection of classical paintings and calligraphy. He is considered one of the Four Masters of the Yuan Dynasty. This painting was completed in 1363 when Ni Tsan was sixty-two years old. The mountains are rendered in long, continuous hemp fiber strokes, rather than the abbreviated lines of his later works. The small trees in the middle-ground are textured with horizontal dabs in the manner of Huang Kung-wang. Ni first studied the works of Tung Yuan and was thirty-three years younger than Huang Kung-wang. Therefore, the stylistic influence of these two Masters on the work of Ni Tsan was ineveitable. Whether this work was actually executed for Ni's friend Wei-yun (Ch'en Ju-yen) as the inscription states is open to question. Two characters in the inscription have been erased and the words "Wei-Yun" were witten in their place.
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內容簡介（中文） |
倪瓚（1301－1374），江蘇無錫人。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。
此畫為倪氏六十三歲之作，筆墨秀逸簡淡，山上長皴未成折帶；遠樹橫點神似大癡。蓋雲林本學董源，而又小黃公望三十三歲，故受其影響。此畫本為贈行而作，受畫者由水路往會稽，故所畫係舟中望兩岸之景，至於受畫者為誰？已不可知。上款惟允二字，係畫商妄改，藉增此畫身價。
(20110913)
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內容簡介（英文） |
Ni Zan (style name Yuanzhen; sobriquets Yunlin and Yuweng) was a native of Wuxi in Jiangsu. From a wealthy family, he had the Qingbi Pavilion built to house his collection of ancient painting and calligraphy. He excelled at painting landscapes, becoming known as one of the Four Yuan Masters.
This painting was done by Ni Zan at the Chinese age of 63. The use of brush and ink is elegantly untrammeled and simply plain, the long texture strokes of the mountains not angular. The horizontal dots for the distant trees appear much like that of Huang Gongwang’s. In fact, Ni Zan studied the style of their common ancestor in painting, Dong Yuan, and he was 33 years younger than Huang, thus accounting for the influence. This painting was done as a gift, and it’s recipient took a water route to Guiji, hence the rendering of a boating scene between two banks. The identification of the recipient, however, is now unknown. The two characters for “Weiyun” (the renowned Chen Ruyan) in the inscription appear to have been added by a seller of the painting sometime in the past, perhaps to increase its value.
(20110913)
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