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南朝宋陸探微五岳圖 卷
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者陸探微
- 裝裱形式卷
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- 集叢號-類型總集
- 典藏尺寸隔水一@#@15@#@@#@引首@#@52.2x96.5@#@@#@隔水二@#@15.8@#@@#@本幅一@#@61x194.3@#@@#@隔水三@#@61x19.7@#@@#@本幅二@#@61x194.1@#@@#@隔水四@#@61x19.6@#@@#@本幅三@#@61x193.5@#@@#@隔水五@#@16x19.1@#@@#@本幅四@#@61x193.5@#@@#@隔水六@#@16x19@#@@#@本幅五@#@61x191.5@#@@#@隔水七@#@61x17.3@#@@#@拖尾一@#@61x56.6@#@@#@隔水八@#@16.3@#@@#@拖尾二@#@61x136.1
- 質地本幅@#@絹@#@@#@引首@#@紙@#@@#@隔水@#@綾@#@@#@拖尾一@#@絹@#@@#@拖尾二@#@紙
- 題跋資料題跋@#@吳永年@#@引首@#@黃山吳永年書@#@草書@#@五岳圖。黃山吳永年書。@#@@#@題跋@#@拖尾@#@行書@#@太子太師魯國公臣蔡京。翰林學士臣王黼。中書門下侍郎兼掌祕書院事臣吳履泰。左御道錄臣徐知常。奉敕同觀。@#@@#@題跋@#@徐師回@#@拖尾@#@行書@#@假守徐師回戊午九月覽之。@#@@#@題跋@#@盛章@#@拖尾@#@楷書@#@學士盛章謹觀。@#@@#@題跋@#@米友仁@#@拖尾@#@行書@#@政和元年八月二日。敷文閣直學士朝議大夫提舉佑神觀。米友仁鑒定。@#@@#@題跋@#@拖尾@#@篆書@#@先雲閣臨川危氏家藏@#@@#@題跋@#@明宣宗@#@拖尾@#@宣德九年三月上巳日。武英殿御題。@#@行書@#@曩閱宣和畫譜有陸探微補王羲之遊五嶽圖。一時名臣互相披賞。稱為尤物。眷念久之。未獲一見。意謂不復在人間矣。近因浙中蔣暉入朝。持此以進。深慰朕懷。所惜羲之書已失去。良用惋悵耳。宣德九年三月上巳日。武英殿御題。@#@@#@題跋@#@李廷貴@#@拖尾@#@蜀人李廷貴@#@草書@#@古者秘畫珍圖名隨事立。曲範則有春龝毛詩論語孝經爾雅等圖。其次後漢蔡邕有講學圖。梁張僧繇有孔子問禮圖。寫景則明帝有輕舟迅邁圖。顧愷之有雪霽望五老峰圖。若此種種不一。要當與六籍並傳不朽。此卷為陸探微所繪遊五岳圖。乃補右軍所遺者。宋徽廟皆有御題及璽可據。始也右軍之書具在。而探微為之補圖。今也探微之繪尚存。而右軍之書復失之矣。嗟呼世間得得失失之故豈止一書畫哉。是亦不足訝也。宣宗時侍書蔣廷暉獲之以呈。宸眷極隆。特加題識。藏諸內庫。後復以賜南都魏國家。魏國因徵吳下祝京兆先生續書五嶽賦於後。而筆精墨妙。可稱全璧矣。予以有事南都。得一展觀。其山水渾厚。確乎在董巨之上。而御翰輝煌。尤為此圖生色。兼之有京兆之筆。不既稱三絕耶。識以志吾幸。蜀人李廷貴。
- 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@#@@#@收傳印記@#@緝煕殿寶（重五）@#@@#@收傳印記@#@□賞孫封（重四）@#@@#@收傳印記@#@陳台先收藏書畫印（重五。一半印）@#@@#@收傳印記@#@雁湖陶氏勝叔甫珍藏（重五。一半印）@#@@#@收傳印記@#@雁湖陶氏勝叔甫珍藏印（重四。殘）@#@@#@收傳印記@#@勝叔陶氏秘玩（重五）@#@@#@收傳印記@#@陶明發印念人（連珠印。重十）@#@@#@收傳印記@#@雁門長印（重一）@#@@#@收傳印記@#@金粟道人@#@@#@收傳印記@#@吳氏全節@#@@#@收傳印記@#@新安吳翼明鑒賞（重一）@#@@#@收傳印記@#@允明@#@@#@收傳印記@#@祝希哲@#@@#@收傳印記@#@吳鉉之印（重一）@#@@#@收傳印記@#@子尚@#@@#@收傳印記@#@漢元勳長沙皇孫@#@@#@收傳印記@#@結緣翰墨@#@@#@收傳印記@#@碧天秋月
- 參考資料收藏著錄@#@石渠寶笈初編（重華宮），下冊，頁781-782@#@@#@收藏著錄@#@故宮書畫錄（卷八），第四冊，頁29@#@@#@收藏著錄@#@故宮書畫圖錄，第十五冊，頁9-14@#@@#@收藏著錄@#@陸探微，南朝，宋時吳（今江蘇蘇州）人。明帝（西元四六五至四七二年）時，以善畫人物故實得名。畫有「六法」，探微得備。其人物秀骨清像，生動自然，與張僧繇、顧愷之同為南朝時代大畫家。本卷畫五段，依序為西嶽華山、北嶽恆山、東嶽泰山、南嶽衡山、中嶽嵩山。畫中山陵高聳，樹木大都作秋景紅葉，畫中高士，或對語、或攜琴訪友，筆墨濁重欠清雅。按陸探微畫，北宋宣和畫譜僅載十幅，舉世今恐無存。本幅原籤題陸探微畫，畫上所謂宋徽宗題識均存疑。@#@@#@參考書目@#@何炎泉，〈南朝宋陸探微五岳圖 卷〉，收入《毫端萬象-祝允明書法特展》（臺北：國立故宮博物院，2013.01），頁286-295、379。@#@@#@內容簡介（英文）@#@Lu T'an-wei was a native of Wu (modern Soochow, Kiangsu). He served in the court of the Emperor Ming (r. 465-472 A.D.). He was famous for his figure paintings and his illustrations of historical anecdotes. Later critics have said that Lu's style embodied the "Six Principles" of painting propounded by the sixth century art critic Hsieh Ho. Along with his contemporaries Chang Seng-yu and Ku K'ai-chih, he is considered one of the leading painters of his period. This handscroll is divided into five sections depicting five peaks: the western peak, Hua Mountain; the northern peak, Heng Mountain; the eastern peak, T'ai Mountain; the southern peak, Heng Mountain, and the central peak, Sung Mountain. Each lofty mountain dominates the surrounding landscape. The leaves on most of the trees have turned to autumn red. Scholars sit and converse, one has brought a lute with him as he visits his friends. The brush and inkwork are muddled and lacking in grace. The Sung dynasty (960-1279) book, the Hsuan-ho Catalogue of Painting, lists only ten existing works by Lu T'an-wei. There are unfortunately no genuine works by this artist currently extant. This painting was attributed to Lu T'an-wei in a dubious inscription said to be by the Sung Emperor Hui-tsung.
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