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【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁69
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收藏著錄 |
故宮書畫圖錄，第五冊，頁57-58
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內容簡介（中文） |
近景畫四松圍繞，松陰間三人坐平台上，與松風湍泉為伴，相談怡然。遠處層山兩疊，其間一瀑中垂；下方山徑穿行，寺院隱約可見。
本幅舊傳為盛懋（約十四世紀前期）所作。盛懋，字子昭，臨安（今杭州）人，畫山水宗董巨。今觀此軸之用筆與盛懋不類，較近於晚明吳派作風。
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內容簡介（英文） |
In the foreground of this painting is an enclosure composed of several towering pine trees, in the shade of which sit three figures on a grassy knoll. Accompanied by the sound of the wind soughing through the pines and water gurgling in the stream to the lower right, these gentlemen chat in leisurely refinement. We find two mountain peaks extending into the background with a suspended waterfall between them. In the lower left corner, a path winds up to the enclosure, then under the clouds, and finally up to the hills where a temple structure is partially hidden.
This work is traditionally attributed to Sheng Mou (style name Tzu-chao), a native of Lin-an (modern Hangchow). In landscape painting, he followed the style of Tung Yuan (fl. first half of 10th c.) and Chu-jan (fl.10th c.), using an upright brush with great force. The colors of this painting are elegant and pure, and the brushwork soft and refined. The style thus differs from that associated with Sheng Mou and appears closer to the manner of a Wu School painter of the late Ming dynasty (1368-1644).
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內容簡介（中文） |
峰巒聳立，山谷間雲煙瀰漫，近景水岸
，岩石壘壘，巨大的松樹挺立，平地空處
，三位高士席地而坐，另一位高士帶著童
僕，攜琴前來。山徑間有人柱杖登高，或
挑著擔子前行。畫中山石以赭石打底，加
染石綠，色調沉鬱，增加了古樸的風味。
舊傳為元代山水畫家盛懋（約十四世紀前
期）之作，不過由樹石造型及皴染的方式
來看，大約是十七世紀明代後期的作品。
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內容簡介（英文） |
Ridges and peaks rise tall and straight, and the valley here is filled with mist. In the foreground is a waterside bank with piled rocks. Giant pines stand tall against the empty space of the level middleground. Three lofty scholars sit in front as another comes with an attendant carrying a zither. On a mountain path above, a person walks holding a staff, while another lifts his burden to proceed. The landscape forms here were done with ochre ground, to which washes of mineral green were added for a heavier feel and to emphasize the archaic simplicity. This work is traditionally attributed to the Yuan dynasty painter Sheng Mao, but the landscape forms and trees as well as the texturing and washes date it to about the late Ming dynasty in the 17th century.(20100104)
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