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民國黃賓虹山隱幽居 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者黃賓虹
- 色彩淺設色
- 裝裱形式軸,軸
- 創作時間中華民國十一年（1922）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@147x79
- 質地本幅@#@紙
- 題跋資料簽@#@包首@#@黃賓虹山隱幽居。@#@@#@作者款識@#@黃賓虹@#@山隱幽居草木深。鳥唬花落晝沉沉。行人杖履多迷路。不是書聲何處尋。壬戌（西元一九二二年）夏日。澤園先生屬正。賓虹。@#@行楷書
- 主題主要主題@#@山水@#@@#@次要主題@#@樹木@#@@#@次要主題@#@建築@#@房舍@#@@#@其他主題@#@山水@#@煙、霧
- 技法寫意@#@@#@皴法@#@披麻皴
- 參考資料內容簡介（中文）@#@黃賓虹（西元一八六五－一九五于年），安徽歙縣人，原名質，字樸存，中年，更號賓虹，後以號行。學畫於陳春帆，後力工山水，以新安派為宗，受李流芳、程邃、程正揆、髡殘之影響，兼法宋元，屢經變革，遂自成面目。 山隱幽居圖濃鬱焦乾墨法交互使用，渾厚華滋，意境幽深，黑白對比極其明顯，而左上角的題詩，「行人杖履多迷路，不是書聲何處尋」，更為本幅添加繪畫不易表達的聲音，充分表現了中國詩畫交融的特有氣質。@#@@#@內容簡介（英文）@#@Huang Pin-hung (orginal name Chih; style name P’u-ts’un) was a bative of She-hsien, Anhwei. In his middly years, he took the sobriquet Pin-hung, by which he became most well-known. He started painting uder Ch’en Ch’un-fan and later devoted himself to landscape subjects, taking the Anhwei School style of the seventeenth centruy as his model; he was influenced by the styles of such painters as Li Liu-fang (1575-1628), Ch’eng Sui (1605-1691), Ch’eng Cheng-k’uei (fl.17th century) and K’un-ts’an (1612-c. 1673). He also followed the styles of Sung (960-1279) and Yuan dynasty (1279-1368) painters, transforming and reforming them to create his own style. This painting was executed with the complementary use of dark thick and scorched dry ink that appears sophisticated and elaborate, yet conveying the idea of tranquil profundity. The contrast between black and white is very obvious. In the upper left corner is an inscribed poem: “The plodding travelers often lose their way; if not for the recital from books where is he to be found?” This poem emphasizes even more the difficulty of expressing sound in painting, fully representing the special Chinese characteristic of fusing poetry and painting.
- 地圖
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