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清楊補畫山水 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者楊補
- 色彩水墨
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@111.7x45.4
- 質地本幅@#@紙
- 題跋資料作者款識@#@楊補@#@本幅@#@戊子十月致和道院作。古農楊補。@#@行書
- 印記資料鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶
- 主題主要主題@#@山水@#@@#@其他主題@#@山水@#@溪澗、湍泉@#@@#@其他主題@#@人物@#@高士（士人、隱士）@#@@#@其他主題@#@樹木@#@@#@其他主題@#@樹木@#@寒林．枯樹
- 技法寫意@#@@#@人物衣紋描法(勻稱線條)@#@@#@皴法@#@披麻皴
- 參考資料收藏著錄@#@李玉珉，〈清楊補畫山水 軸〉，收入《故宮書畫圖錄(卅二)》（臺北：國立故宮博物院，2013.12），頁330-331。@#@@#@內容簡介（中文）@#@ 楊補，字無補，又字白補，號古農、岩阿桑者。生死時年均不詳，明末江西清江人，徙居江蘇長洲，終身閒散不仕，為長洲有名布衣。生性孝謹，重然諾。明亡後，隱居於鄧尉山。 他的山水畫，從作品面目看來，迥然別於當時盛行的「吳派」，而是直接溯源元代黃公望和倪瓚，而且筆墨簡淡疎逸，幽情冷致，與清初四大山水畫家相較，則又是另一番境界，此或緣於個人品性學養的不同有以使然。 @#@@#@內容簡介（英文）@#@Landscape Yang Pu Ch’ing Dynasty Yang Pu (tzu Wu-pu and Po-pu, hao Ku-nung and Yen-a-sang-che) lived at the end of the Ming dynasty. He was born in Ch’ing-ch’ang, Kiangsi but lived in Ch’ang-chou, Kiangsu. He lived a life of dissipation and never held an official position but was well-known in Ch’ang-chou. Of an extremely filial and respectful nature, he was always true to his word. After the fall of the Ming dynasty in 1644, he withdrew and lived in seclusion in the mountains. Judging from his surviving paintings, Yang Pu did not paint in the style of the “Wu School” which was dominant in K; angsu during his lifetime. Rather, he made an earnest effort to return to the more pure Yuan dynasty styles of Huang Kung-wang and Ni Tsan. His use of brush and ink was simplified and free, expressing the lofty spirit of his seclusion. His works are more easily compared with those of the “Four Masters of the Early Ch’ing” (Wang Shih-min, Wang Chien, Wang Hui, and Wang Yuan-ch’i), and so he is usually considered a Ch’ing rather than a Ming painter. This innovativeness was perhaps due to his naturally independent nature.
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引用資訊
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