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宋范寬秋林飛瀑 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者范寬,Fan Kuan
- 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@#@181x99.5
- 質地本幅@#@絹
- 印記資料鑑藏寶璽@#@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@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫
- 主題主要主題@#@山水@#@秋景@#@@#@其他主題@#@山水@#@溪澗、湍泉@#@@#@其他主題@#@山水@#@瀑布@#@@#@其他主題@#@人物@#@百姓@#@@#@其他主題@#@建築@#@房舍@#@@#@其他主題@#@建築@#@城牆@#@@#@其他主題@#@山水@#@山徑@#@@#@其他主題@#@山水@#@江河、湖海@#@@#@其他主題@#@人物@#@高士（士人、隱士）@#@@#@其他主題@#@樹木@#@@#@其他主題@#@建築@#@橋
- 技法皴法@#@斧劈皴
- 參考資料收藏著錄@#@石渠寶笈三編（延春閣），第三冊，頁1378 @#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁40-41 @#@@#@收藏著錄@#@故宮書畫圖錄，第一冊，頁165@#@@#@參考書目@#@1.林莉娜，〈宋范寬秋林飛瀑〉，收入林莉娜編，《秋景山水畫特展圖錄》（臺北：國立故宮博物院，1989年十月初版），頁65。 2.〈宋范寬秋林飛瀑〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁218。 @#@@#@參考書目@#@劉芳如，〈宋范寬秋林飛瀑 軸〉，收入《國寶再現-書畫菁華特展》（臺北：國立故宮博物院，2018.10），頁66-75、252。@#@@#@參考書目@#@劉芳如，〈宋范寬秋林飛瀑 軸〉，收入《典範與流傳-范寬及其傳派》（臺北：國立故宮博物院，2015.07），頁116-127、327。@#@@#@內容簡介（中文）@#@范寬（活動於11世紀初），華原（今陝西耀縣）人。本名中正，字仲立。因性情寬厚，時人稱為范寬。其畫用筆強勁有力，用墨厚重。構圖取景單純，所以在視覺上，特別能表現出山形的雄偉壯觀以及質量感。然而本幅山石皴紋係用斧劈，與本院所藏范寬使用雨點皴法的〈谿山行旅圖〉明顯不同，而與李唐畫風較為接近。畫中紅楓飄於水上，當在表現唐代崔信「楓落吳江冷」的名句。(20110913)@#@@#@內容簡介（中文）@#@范寬（11世紀初），華原（今陜西華原）人。本名中正，字仲立。因性情寬厚，時人稱為范寬。畫山水，先學李成，再學荊浩，用筆強勁有力，用墨厚重。構圖取景單純，所以在視覺上，特別能表現出山形的雄偉壯觀，以及質量感，這幅的山石皴纹係用斧劈，與本院收藏另一幅使用雨點皴法的「谿山行旅圖」比較，面目顯見不同，而與李唐畫風較為接近。畫中紅楓飄於水上，詩意是唐崔信明句「楓落吳江冷」。@#@@#@內容簡介（英文）@#@ Fan K’uan was a native of Hua-yuan in Shensi province. His style name was Chung-li and his original name was Chung-cheng, but he changed this to K’uan (meaning broad, encompassing ) because of his magnanimous nature and uninhibited deportment. He first followed the landscape style of Li Ch’eng and also studied the works of Ching Hao. Later he developed his own manner. Fan K’uan’s painting style was extremely individualistic; his brushwork and use of ink were heavy and thick. Previous critics of his work have noted that his use of ink gives an impression of monumentality and solidity. He thoroughly understood the “bones” of the earth. Throughout this painting we see the use of “axe-cut” texture strokes. This contrasts with the use of “rain-drop” texture strokes on his painting “Travelers Among Streams and Mountains” and is more like the work of Li T’ang. The imagery of red maple leaves of autumn floating on the water is derived from Ts’ui Hsin-ming’s line which reads, “Maple leaves fall on the cold Wu River”. @#@@#@內容簡介（英文）@#@Fan Kuan (original name Zhongzheng, style name Zhongli) was a native of Huayuan (modern Yaoxian, Shaanxi). Because of his magnanimous nature and uninhibited deportment, he was called Fan “Kuan” (meaning “broad” or “encompassing”). In painting he used strong and powerful brushwork with rich and heavy ink. His compositions were usually straightforward, so that, visually speaking, they particularly express the majestic monumentality of mountains. In terms of quality, this painting makes use of “axe-cut” strokes for the texture patterning of the mountains, which obviously contrasts with the “rain-drop” texture strokes in Fan’s masterpiece “Travelers Among Mountains and Streams” in the Museum collection. Rather, this work is closer in style to that of Li Tang from later in the Song dynasty. The imagery of red maple leaves in autumn floating on water is derived from a famous line by Cui Xin of the Tang dynasty: “Maple leaves fall on the cold Wu River.”(20110913)
- 地圖
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