明人仿宋元諸家山水　冊｜國家文化記憶庫2.0

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明人仿宋元諸家山水　冊

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基本資訊

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原始資料連結
原始資料連結
資料來源
國立故宮博物院(舊)
主題分類
藝術與人文
建檔單位
國立故宮博物院

裝裱形式
冊(摺裝‧方幅式)
數量
一冊：二十開（本幅二十開二十幅）
集叢號-類型
總集
典藏尺寸
本幅一@#@53.3x34.5@#@@#@本幅二@#@51.5x35.7@#@@#@本幅三@#@54.9x34.2@#@@#@本幅四@#@52x35.7@#@@#@本幅五@#@48.2x33.1@#@@#@本幅六@#@55x35.7@#@@#@本幅七@#@51.3x35@#@@#@本幅八@#@51.5x35.9@#@@#@本幅九@#@52.2x34.9@#@@#@本幅十@#@51.6x36@#@@#@本幅十一@#@51.5x45@#@@#@本幅十二@#@51.8x35.1@#@@#@本幅十三@#@51.3x35.8@#@@#@本幅十四@#@50.6x33.6@#@@#@本幅十五@#@51.7x35.8@#@@#@本幅十六@#@50.6x35.8@#@@#@本幅十七@#@50x35.3@#@@#@本幅十八@#@51.7x34.5@#@@#@本幅十九@#@52.8x36@#@@#@本幅二十@#@53.2x34.5
質地
本幅@#@絹
印記資料
鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@重華宮鑑藏寶@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@樂善堂圖書記@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@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
參考資料
收藏著錄@#@石渠寶笈初編（重華宮），下冊，頁738@#@@#@收藏著錄@#@故宮書畫錄（卷六），第四冊，頁270-271@#@@#@收藏著錄@#@故宮書畫圖錄，第三十冊，頁96-101@#@@#@內容簡介（中文）@#@本冊計二十幅，選展其七。無款印。畫法密實，雖云冊頁小幅，但佈景、用筆、渲染、設色，乃至一樹一人，不因小而有所疏忽，表現出畫家精神飽滿，處處照顧周到。明人山水，承襲宋元，學元人者，自由主觀；學宋人者，重理客觀。本冊於筆法運用，偏學元人，但空間觀念，又是融合宋人手法，前後景清清楚楚，直欲令人從容坐遊其間，這是累積前代經驗所致。本冊雖無名款，就風格論，與同時展出之明代陸遠摹古冊，實在非常相近，可能即出於陸氏之手，或其同師承者。@#@@#@內容簡介（英文）@#@There are twenty leaves in this album of which seven are exhibited. The album leaves have neither the signature nor seals of the artist. The painting style is detailed. Although these are small-sized album leaves, the compositions, brushwork, washes, coloration, even each figure and each tree, are all carefully executed. All these elements reveal the artist's skill and desire to pay attention to all aspects of the paintings despite the small size. Ming dynasty artists who painted landscapes continued in the tradition of Sung (960-1279) and Yuan (1279-1368) artists. Those who studied Yuan artists exhibited freedom and subjectivity, while those who followed Sung artists emphasized principles and objectivity. In this album, the artist tended to follow Yuan dynasty brushwork but incorporated the concepts of space developed by Sung artists. The foregrounds and backgrounds are depicted in a clear fashion, as though inviting the viewer into the paintings. This album is the result of an accumulation of painting techniques. Although unsigned, in terms of style, this album is so similar to the album Copies of Ancient Paintings by Lu Yuan also in this exhibition that it might even be by Lu Yuan or one of his close followers.