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元盛懋山水 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者盛懋,Sheng Mao
- 色彩淺設色
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@120.5x40.6
- 質地本幅@#@紙
- 題跋資料作者款識@#@盛懋@#@本幅@#@武塘盛（盛字剝蝕）懋@#@楷書
- 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@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@嘉慶鑑賞@#@@#@鑑藏寶璽@#@寶笈三編@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@鑑藏寶璽@#@宣統鑑賞@#@@#@鑑藏寶璽@#@無逸齋精鑑璽@#@@#@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@#@北平孫氏硯山齋圖書
- 主題主要主題@#@山水@#@@#@主要主題@#@樹木@#@竹@#@@#@次要主題@#@山水@#@江河、湖海@#@@#@次要主題@#@人物@#@高士（士人、隱士）@#@高士@#@@#@次要主題@#@人物@#@侍從（侍女、童僕）@#@侍從、童僕@#@@#@次要主題@#@建築@#@亭@#@茅亭@#@@#@其他主題@#@山水@#@溪澗、湍泉@#@@#@其他主題@#@山水@#@瀑布@#@@#@其他主題@#@樹木@#@@#@其他主題@#@樹木@#@寒林．枯樹@#@枯樹@#@@#@其他主題@#@建築@#@臺閣@#@@#@其他主題@#@建築@#@齋館@#@@#@其他主題@#@建築@#@房舍@#@@#@其他主題@#@建築@#@寺廟@#@@#@其他主題@#@建築@#@橋@#@@#@其他主題@#@建築@#@欄杆@#@@#@其他主題@#@船@#@篷舟
- 技法皴法@#@披麻皴@#@@#@苔點
- 參考資料收藏著錄@#@石渠寶笈三編（乾清宮），第二冊，頁526 @#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁231 @#@@#@收藏著錄@#@故宮書畫圖錄，第五冊，頁51-52@#@@#@內容簡介（中文）@#@盛懋（約西元十四世紀）字子昭，浙江臨安人，後來遷移到浙江嘉興的魏塘鎮。他畫山水、人物、花鳥、最初是向陳琳學習的。技法熟練之後，加入自已的畫法，而形成了屬於他自已的風格。 這一幅畫的榭葉，以「介」字點的變格畫成，山石皴紋使用長披麻交互皴晝，有許多地方相交而成魚網狀。山頂常有礬頭三五個聚在一起。與吳鎮的晝風有點相近，但較為瘦瘠，不像吳禛那樣厚重。@#@@#@內容簡介（中文）@#@ 盛懋（約西元十四世紀），字子昭，浙江臨安人，後來遷移到浙江嘉興的魏塘鎮。畫山水、人物、花鳥，初向陳琳學習。技法熟練之後，加入自己的畫法，形成個人的風格。 此幅樹葉，以「介」字點的變格畫成，山石皴紋使用長披麻交互皴畫，在許多地方相交成魚網狀。山頂常有三五個礬頭聚在一起，具格式化。 (20120103)@#@@#@內容簡介（英文）@#@ Sheng Mao (style name Zizhao), a native of Lin’an in Zhejiang, later moved to the town of Weitang near Jiaxing in Zhejiang. He was good at painting landscapes, figures and bird-and-flower subjects. He started by studying the art of Chen Lin and after becoming skilled in his techniques, Sheng added his painting method to form a style of his own. The tree leaves here are painted using varied arrangement of “jie 介” character forms. The texturing for the rocks and mountains employs long intersecting hemp-fiber strokes, building up into patterns that look like fishnets. Mountaintops with clusters of a few gathered alum lumps also appear patternized. (20120103)@#@@#@內容簡介（英文）@#@Sheng Mao was a native of Lin-an in Chekiang province, but he also lived in Wei-t'ang near Chia-hsing. His style name was Tzu-chao and he was good at landscapes, figure subjects and flowers and birds. He started by studying the art of Ch'en Lin (early l4th c.) and somewhat altered the latter's style. His works were carefully and skillfully executed and contained a little too much virtuosity. The tree leaves in this work are painted using a variation of the type of leaf arrangement known as chieh (介) leaves. The texture strokes on rocks and mountains are of the type known as "long p'i-ma". Painted with overlapping strokes, they build up into patterns that sometimes look like fishnets. Although there is some resemblance to the work of his contemporary Wu Chen, Sheng Mao's paintings are of a somewhat lesser quality and do not have the substance one finds in Wu's better works.
- 地圖
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