收藏著錄@#@石渠寶笈初編(重華宮),下冊,頁740@#@@#@收藏著錄@#@故宮書畫錄(卷六),第四冊,頁106@#@@#@收藏著錄@#@故宮書畫圖錄,第二十三冊,頁270-273@#@@#@參考書目@#@1.陳昱全,〈清惲向倣黃公望山水〉,收入何傳馨主編,《山水合璧:黃公望與富春山居圖特展》(臺北:國立故宮博物院,2011年五月初版一刷),頁344。@#@@#@內容簡介(中文)@#@ 惲向(西元一五八六-一六五五年),江蘇武進人。本名道生,字本初,後改名向,又以字行,號香山翁。善畫山水,愛好詩歌古文辭。早歲作品,氣厚力沈,全摹董源、巨然畫法;晚年惜墨如金,蕭然自遠,意興則在倪瓚黃公望之間。
本冊為倣五代、宋、元諸大家之作,筆墨蒼厚秀潤,雖名仿摹,然展現卻為己貌。
@#@@#@內容簡介(英文)@#@Imitating the Ancients
Yun Hsiang (1586-1655)
Ch’ing Dynasty
Yun Hsiang (original name Tao-sheng, style name Pen-ch’u, and style name Hsiang-shan weng) was a native of Wu-chin, Kiangsu province. He was not only fond of poetry and ancient literature, but a fine landscape painter. In his early paintings, there is a dense and ponderous quality modeled after the styles of Yung Yuan (fl. Early 10th cent.) and Chu-jan (fl. Late 10th cent). In his later years, he used ink sparingly so that they appear quite light and somewhat similar to the styles of Ni Tsan (1301-1374) and Huang Kung-wang (1269-1354).
This album is composed of leaves done in imitation of the ancient masters from the 10th to 14th centuries, spanning the Five Dynasties, Sung, and Yuan. The use of brush and ink is hoary and refined, and, although working in ancient styles, Yun Hsiang was able to reveal his own style.