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元倪瓚楓落吳江圖 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者倪瓚,Ni Zan
- 色彩水墨
- 裝裱形式軸
- 創作時間元順帝至正二十六年（1366）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@94.3x48.8
- 質地本幅@#@紙
- 題跋資料作者款識@#@倪瓚@#@本幅@#@楓落吳江獨詠詩。九峰三泖酒盈巵。楊梅鹽雪調冰盌。夏簟開圖慰所思。至正丙午（西元一三六六年）秋。永貞架閣。自吳城復還吳松之袁部場。因寫此圖贈別。又為之詩。瓚。@#@行楷書@#@@#@題跋@#@王汝玉@#@本幅@#@吳下王汝玉@#@楷書@#@清閟高人一散仙。尚留遺墨世間傳。當時曾寫相思意。誰信如今重惘然。吳下王汝玉。
- 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@#@御書房鑑藏寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@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@#@@#@收傳印記@#@太原王氏@#@@#@收傳印記@#@長安
- 主題主要主題@#@山水@#@@#@主要主題@#@樹木@#@@#@次要主題@#@山水@#@江河、湖海@#@@#@次要主題@#@建築@#@亭@#@@#@其他主題@#@建築@#@橋
- 技法皴法@#@披麻皴@#@@#@皴法@#@折帶皴@#@@#@苔點
- 參考資料收藏著錄@#@石渠寶笈初編（御書房），下冊，頁1111 @#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁218-219 @#@@#@收藏著錄@#@故宮書畫圖錄，第四冊，頁287-288@#@@#@參考書目@#@1.蔣復璁，〈倪瓚楓落吳江圖〉，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53。 @#@@#@內容簡介（中文）@#@倪瓚（西元一三0一—一三七四年）江蘇無錫人，字元鎮，號雲林、迂翁。家富饒，築清閟閣，蓄古書畫，尤善山水，為元四大家之一。 本幅作於至正丙午（一三六六年）秋，倪氏時年六十六歲。雲林畫著意無多，而筆墨極為秀挺。此幅構圖，一河兩岸，樹亭前後臨水，清虛空曠，坡石以折帶皴，用筆中鋒轉側，皴多染少，故皴筆特覺清勁。@#@@#@內容簡介（中文）@#@倪瓚（西元一三○一—一三七四年）江蘇無錫人，字元鎮，號雲林、迂翁。家富饒，築清閟閣，蓄古書畫，尤善山水，為元四大家之一。 本幅作於至正丙午（一三六六年）秋，倪氏時年六十六歲。雲林畫著意無多，而筆墨極為秀挺。此幅構圖，一河兩岸，樹亭前後臨水，清虛空曠，坡石以折帶皴，用筆中鋒轉側，皴多染少，故皴筆特覺清勁。 (20121016)@#@@#@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, Ni collected antique calligraphy and painting, building the Qingbi Pavilion. He particularly excelled at landscapes, being known as one of the “Four Yuan Masters.” This work was done in the autumn of 1366, when Ni was 66 by Chinese reckoning. Ni’s works tend to be succinct, his use of brush and ink elegant and upright. The composition here uses two shores divided by a river. A few trees and a pavilion are placed in front by the water, followed by pure void, and the slopes are rendered with “bent band” texture strokes. Ni Zan used a turning slanted brush for much texture but little ink, making the strokes appear especially pure and strong. (20121016)@#@@#@內容簡介（英文）@#@Ni Tsan's subject matter is very simple, but the brushwork is superb: the spacious, expansive composition consists only of a river, two banks, and some trees and a pavilion at the water's edge. The land masses are executed in stratified texture-strokes whereby the end of the brush is rolled downward sideways. Washes are little used, further lending a feeling of strength to the texture strokes. The painting was done in the autumn of 1366,when Ni Tsan was sixty-five years old. One of the "Four Masters of the Yuan Dynasty," he was noted for his landscapes. From a wealthy family in Wu-hsi, Kiangsu, Ni Tsan collected antique calligraphic works and paintings and built a garden pavilion called Halcyon Seclusion. Style named Yuan-chen, he also went by the sobriquets Yun-lin, or Cloud Forest, and Yu-weng, or Daft Old Man.
- 地圖
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