跳到主要內容區塊
:::
六朝梁張僧繇雪山紅樹圖 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者張僧繇,明人 Anonymous,Ming Dynasty,Zhang Sengyou,Liang dynasty
- 色彩設色
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@118x60.8@#@@#@全幅@#@276x87
- 質地本幅@#@絹
- 題跋資料作者款識@#@張僧繇@#@本幅@#@僧繇@#@楷書@#@@#@題跋@#@清高宗@#@本幅@#@行書@#@青女遺素英。少男皴粉白。依然五大夫。須髪轉寒碧。丹楓未落盡。臨風鳴瑟瑟。墜黏文石凹。似點壽陽額。斷橋驢背人。彷彿孤山客。乾隆庚申（西元一七四０年）御題。
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@乾隆鑑賞@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@養心殿鑑藏寶@#@@#@鑑藏寶璽@#@古希天子@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@收傳印記@#@御府之印@#@@#@收傳印記@#@子孫億世家傳之寶@#@@#@收傳印記@#@合同@#@@#@收傳印記@#@米芾畫禪烟巒如覿明說克傳圖章寶錫@#@@#@收傳印記@#@梁溪華氏家藏@#@@#@收傳印記@#@霜華山人@#@@#@收傳印記@#@李氏珍藏書畫之印@#@@#@收傳印記@#@墨林@#@@#@收傳印記@#@（一印漫漶不可識）@#@@#@收傳印記@#@（一印存半山二字）
- 主題主要主題@#@山水@#@冬景（雪景）@#@@#@次要主題@#@樹木@#@@#@次要主題@#@建築@#@寺廟@#@@#@其他主題@#@山水@#@江河、湖海@#@@#@其他主題@#@花草@#@@#@其他主題@#@建築@#@齋館@#@@#@其他主題@#@建築@#@橋@#@@#@其他主題@#@建築@#@欄杆@#@@#@其他主題@#@器用@#@傢俱（屏風）@#@@#@其他主題@#@走獸@#@騾．驢@#@@#@其他主題@#@人物@#@行旅@#@@#@其他主題@#@人物@#@高士（士人、隱士）
- 技法工筆@#@@#@人物衣紋描法(勻稱線條)
- 參考資料收藏著錄@#@石渠寶笈初編（養心殿），上冊，頁640@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁1@#@@#@收藏著錄@#@故宮書畫圖錄，第一冊，頁1-2@#@@#@參考書目@#@1.林莉娜，〈六朝梁張僧繇雪山紅樹圖〉，收入林莉娜、張華芝編，《冬景山水畫特展圖錄》（臺北：國立故宮博物院，1989年元月初版），頁53。 2.何傳馨，〈(原題六朝梁張僧繇)雪山紅樹圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁239。 @#@@#@內容簡介（中文）@#@張僧繇（約西元六世紀初），蘇州人，曾任武陵王國侍郎、直祕閣知畫事，官至右軍將軍。梁武帝崇信佛教，命僧繇在佛寺畫壁畫，他善作凹凸立體的花紋，畫風帶著外來的影響。群山被大雪所埋，山齋一人憑欄而坐，溪橋有人騎驢而來。一片銀白的雪霽山色與紅樹綠葉交相輝映，色彩鮮麗明快。畫幅右側雖有「僧繇」兩字款，疑為晚明仿其畫風之作。@#@@#@內容簡介（中文）@#@ 全幅以淡墨勾勒物象，捨棄皴法，再敷以青綠、朱紅、白粉等色彩。重複出現圓弧狀造型的山體，呈現一種古拙感。 本幅原題為〈六朝梁張僧繇雪山紅樹圖〉，據唐宋史籍所載，張僧繇（活動於六世紀前半）專長以外來的凹凸畫法繪製佛道人物壁畫。晚明時期流傳許多張僧繇的「沒骨山水」，且有董其昌、藍瑛等人的臨仿作品。此幅應是晚明時期對張僧繇畫風的揣摩與想像。 (20120103)@#@@#@內容簡介（英文）@#@ This work in light ink outlining the forms eschews texture methods but adds shades of blue-green, vermilion, and powdery white. The repeated bun-shaped mountains reveal an archaic simplicity. This painting was originally titled as by the Six Dynasties artist Zhang Sengyou (fl. first half of 6th c.). According to Tang and Song dynasty sources, Zhang specialized in Buddhist and Taoist wall painting using foreign “convex-concave” decorative methods. However, many “Zhang Sengyou” works in the late Ming dynasty were landscapes in the “boneless” wash method, and were imitations done by such painters as Dong Qichang and Lan Ying. Perhaps this work is also a careful yet imaginative view of Zhang Sengyou’s painting style from the late Ming.(20120103)@#@@#@內容簡介（英文）@#@Chang Seng-yu was a native of Soochow and held various government positions. Emperor Wu of the Liang was an ardent believer in Buddhism and commissioned him to execute wall paintings for a Buddhist temple. Chang Seng-yu excelled at rendering the illusion of three-dimensional forms, and his painting style shows traces of foreign influence. In this work, amid snow-covered mountains, a man is seated in his studio and leans on a balustrade. Guests approach over a bridge, one mounted on a donkey. The silvery white of the snowy mountains and the red and green leaves of the trees are vibrant. Although the artist's signature, Seng-yu, appears on the left side of the painting, it was perhaps executed by an artist in the late Ming (1368-1644).
- 地圖
引用資訊
本網站使用Cookies收集資料用於量化統計與分析，以進行服務品質之改善。請點選"接受"，若未做任何選擇，或將本視窗關閉，本站預設選擇拒絕。進一步Cookies資料之處理，請參閱本站之隱私權宣告。