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宋馬遠舉杯玩月 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者馬遠,鍾禮
- 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@#@205.6x104.1
- 質地本幅@#@絹
- 題跋資料作者款識@#@鍾禮@#@本幅@#@欽禮@#@行書
- 印記資料收傳印記@#@□宿記章@#@@#@收傳印記@#@重文
- 主題主要主題@#@山水@#@夜景（月景）@#@@#@其他主題@#@人物@#@高士（士人、隱士）@#@@#@其他主題@#@人物@#@侍從（侍女、童僕）@#@@#@其他主題@#@樹木@#@@#@其他主題@#@樹木@#@松@#@@#@其他主題@#@翎毛@#@鶴@#@@#@其他主題@#@建築@#@亭@#@@#@其他主題@#@建築@#@欄杆@#@@#@其他主題@#@器用@#@傢俱（屏風）@#@@#@其他主題@#@器用@#@飲食器@#@酒杯、壼
- 技法皴法@#@斧劈皴
- 參考資料收藏著錄@#@故宮書畫錄（卷五），第三冊，頁92-93@#@@#@收藏著錄@#@故宮書畫圖錄，第二冊，頁149-150@#@@#@參考書目@#@1.童文娥，〈傳宋馬遠舉杯玩月（明鍾欽禮舉杯玩月）〉，收入國立故宮博物院編輯委員會編，《文學名著與美術特展》（臺北：國立故宮博物院，2001年初版），頁173-174。 2.〈傳宋馬遠舉杯玩月（明鍾禮）〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁179。 3.童文娥，〈「文學名著與美術」特展選介（一） 傳宋馬遠舉杯玩月〉，《故宮文物月刊》，第218期（2001年5月），頁30-32。 @#@@#@內容簡介（中文）@#@本幅縱筆粗豪，高峰聳起如屏。林間亭台，一人舉杯邀月，一童子捧瓶侍候。畫原籤題為馬遠(活動於西元1190-1222年)，但幅下右角有墨書「欽禮」二字，研究者以為當係明代浙派後期名家鍾欽禮(約西元十五、十六世紀)之款。按，鍾禮，字欽禮，號南越山人，浙江上虞人。據稱成化(西元1465-1487年)間召入仁智殿，大受賞譽。擅畫雲山，並工草蟲。@#@@#@內容簡介（中文）@#@馬遠，字欽山。光、寧宗朝（西元一一八九─一二二四年）畫院待詔，畫山石用斧劈，筆力方硬。與夏圭齊名，時稱馬夏。本幅畫李白詩「舉杯邀明月，對影成三人。」士人對著迷濛煙嵐，皎潔明月獨飲，氣氛浪漫。以水份多的大斧劈畫石，墨色分明，技法純熟，應該是明人學馬夏流派作品。幅右下角「欽禮」二字，學者認為是明代浙派後期名家鍾欽禮款。鍾禮，字欽禮，學戴進，善畫峰巒雲氣變化。@#@@#@內容簡介（英文）@#@Ma Yuan was a Painter-in-Attendance at the Southern Sung court. Using “axe-cut” strokes to define rocks, his brushwork was strong and angular. He was as famous as his contemporary Hsia Kuei. This work was inspired by Li Po’s line reading, “I raise my cup to the bright moon. With my shadow, we are three.” A scholar here faces a mist-filled gorge and drinks with a goblet under the bright moon above. Large axe-cut strokes define the rocks. The strong contrast in ink tones and mature technique indicate this was done by a Ming artist in the Ma Yuan and Hsia Kuei school. In the lower left is a signature that reads “Ch’in-li,” believed to be the style name of the late Ming Che School painter Chung Li, who excelled at peaks enveloped in mist.@#@@#@內容簡介（英文）@#@This work was done with relaxed brushwork that was spontaneously executed. A series of tall peaks rise up like a screen in the background and pavilion appears among the trees. A scholar raises his cup to toast the the moon as a youth holding a jug attends to him. This painting originally was attributed to Ma Yuan, but in the lower left corner is a signature that reads “ Ch’in-li,” which scholars believe was the style name of the famous late Ming Che School painter, Chung Li (fl. Ca. 15-16th c.). Chung Li was a native of Chekiang who became an honored court painter in the Jen-chih Hall during the Ch’eng-hua era (1465-1487). He specialized in paintings cloudy mountains as well as insects-and-grasses.@#@@#@網頁展示說明@#@本幅以李白名句「舉杯邀明月，對影成三人」為題，描繪士人獨酌於迷濛月色中。通幅畫石用濃墨大斧劈皴，筆致縱放，儼然有馬夏山水的要素。雖舊籤題定為馬遠(活動於一一九 Ο －一二二二年)，但幅右下角署有「欽禮」二字，及「鍾氏欽禮」印，故實際應出自明代浙派名家鍾禮之手。 鍾禮，字欽禮，浙江上虞人。成化、弘治間（一四六五－一五Ο五）任職內廷，畫學戴進，善寫峰巒雲氣變化。 (20110712)@#@@#@網頁展示說明@#@This work was inspired by Li Bo's famous line that reads, "I raise my cup to the bright moon. With my shadow, we are three." It depicts a scholar facing a mist-filled gorge and drinking with a goblet under the bright moon above. Large axe-cut strokes define the rocks throughout. The strong contrast in ink tones and mature technique indicate features of the Ma Yuan and Xia Gui school. Although the traditional title gives the painter as Ma Yuan, in the lower left is a signature that reads "Qinli" and the seal for "Zhong, Qinli," indicating that it actually came from the hand of Zhong Li, the famous Ming dynasty Zhe school artist. Zhong Li, style name Qinli, was a native of Shangyu in Zhejiang who served the court during the Chenghua and Hongzhi era (1465 to 1505). He learned from the style of Dai Jin and excelled at depicting the transformations of peaks in clouds and mists. (20110712)@#@@#@網頁展示說明@#@本幅以李白名句「舉杯邀明月，對影成三人」為題，描繪士人獨酌於迷濛月色中。通幅畫石用濃墨大斧劈皴，筆致縱放，儼然有馬夏山水的要素。雖舊籤題定為馬遠(活動於一一九○－一二二二年)，但幅右下角署有「欽禮」二字，及「鍾氏欽禮」印，故實際應出自明代浙派名家鍾禮之手。 鍾禮，字欽禮，浙江上虞人。成化、弘治間（一四六五－一五○五）任職內廷，畫學戴進，善寫峰巒雲氣變化。 (20110712)
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