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清黃慎設色山水 卷
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者黃慎
- 色彩設色
- 裝裱形式卷
- 數量一卷
- 作品語文漢文
- 集叢號-類型單件
- 典藏尺寸本幅@#@38.8x189@#@@#@引首@#@38.8x133@#@@#@隔水一@#@38.8x13.5@#@@#@隔水二@#@38.8x12.8@#@@#@拖尾@#@38.8x254.3
- 質地本幅@#@綾@#@@#@引首@#@紙@#@@#@隔水一@#@綾@#@@#@隔水二@#@綾@#@@#@拖尾@#@紙
- 題跋資料作者款識@#@黃慎@#@本幅@#@乾隆五年四月寫。寧化黃慎。@#@草書@#@外看楊柳障魚汀。內必桃花閉武陵。曝網張魚等閒事。且登岸上逐花行。君去新過五月時。都門日近火雲移。贈君數葉迎風物。併入高帆一道吹。送客之燕上馬時。圖花滿冊各成詩。河橋楊柳如教見。應喜相饒贈萬枝。去後重來訪碧山。當時曾比狎雲鬟。但看流水依然綠。要見桃花如此難。凡心勿悔出天台。一見桃花一度回。若使仙人知此意。還教流水引郎來。高髻阿那長袖垂。玉釵彷彿拂羅衣。折得花枝向寶鏡。比妾顏色誰光輝。早起春晴香霧肥。獨依殊月出牆圍。洛濱仙子波心立。虢國夫人馬上歸。輕風吹霧散朱門。影落馮誰寫素魂。萬里曉天微有暈。終宵明月欲無痕。乾隆五年四月寫。寧化黃慎。@#@@#@題跋@#@李石曾@#@引首 @#@（李石曾題。文不錄。）@#@@#@題跋@#@李石曾@#@拖尾@#@（李石曾跋。文不錄。）@#@@#@題跋@#@沈祖德@#@托尾@#@（沈祖德跋。文不錄。）
- 印記資料收傳印記@#@李國松藏@#@@#@收傳印記@#@槃齋珍秘@#@@#@收傳印記@#@幼和珍藏@#@@#@收傳印記@#@肥遁廬@#@@#@收傳印記@#@木公辛亥以後所得
- 主題主要主題@#@山水@#@@#@主要主題@#@山水@#@江河、湖海@#@@#@其他主題@#@花草@#@桃花@#@@#@其他主題@#@樹木@#@楊柳@#@@#@其他主題@#@船@#@篷舟@#@@#@其他主題@#@建築@#@橋@#@@#@其他主題@#@建築@#@臺閣@#@@#@其他主題@#@人物@#@高士（士人、隱士）@#@@#@其他主題@#@人物@#@漁夫、船夫@#@船夫@#@@#@其他主題@#@器用@#@槳、篙
- 技法寫意@#@@#@皴法@#@@#@苔點
- 參考資料收藏著錄@#@李石曾先生遺贈書畫目錄，頁30-31、114-115@#@@#@參考書目@#@1.王耀庭，〈清黃慎設色山水〉，收入王耀庭編，《淵明逸致特展圖錄》（臺北：國立故宮博物院，1988年初版），頁105-106。 @#@@#@內容簡介（中文）@#@黃慎（一六八七－一七六八年後），號癭瓢，福建寧化人。幼因家貧無以為生，遂學畫。其藝既精，即赴揚州鬻畫，因筆墨豪放不羈，終能成為揚州畫派的翹楚。 本幅為李石曾先生捐贈。畫桃柳夾岸，高士泛舟。畫意雖非直接取自陶淵明（三六五－四二七）的詩作，然題識中多處引用陶詩典故，又以紅桃綠柳為景，頗有世外桃源之妙。畫樹線條盤曲飛動，筆法縱逸，與糾結的草書款識互相輝映，並稱佳妙。(20100103)@#@@#@內容簡介（中文）@#@ 黃慎（西元一六八七－一七六八年後），福建寧化人，字躬懋、恭懋、恭壽，號癭瓢。幼貧，遂放棄科舉，從上官周學畫，後赴揚州鬻畫，為揚州畫派之佼佼者。 本幅畫紅桃、綠柳、拱橋、人家，高士乘舟穿流而來，小屋已有人候客。桃柳為景，常會聯想及陶淵明。本幅雖非以陶之詩文為特定題材，然作者題款，已有多處引用陶詩典故。畫中景亦頗富世外桃源意境。黃慎作畫，線條喜盤曲飛動，極富奔馳之意，幅中巖石皴法即是。 @#@@#@內容簡介（中文）@#@ 黃慎（西元一六八七－一七六八年後），福建寧化人。字躬懋、恭壽，號癭瓢。家貧無以為生，遂學畫。其藝既擅，後赴揚州鬻畫，為揚州畫派之翹楚。 桃柳夾岸，高士乘舟而來，悠然自得。本幅雖非依據陶淵明詩文而作，然作者題識多處引用陶詩典故，又以桃柳為景，頗有世外桃源之意。本幅柳幹線條盤曲飛動，筆法縱逸，與糾結的草書款識互相輝映，並臻佳妙。本幅為李石曾先生捐贈。 @#@@#@內容簡介（英文）@#@Huang Shen, a native of Fukien province, was born into a poor family and took up painting in-stead of pursuing a civil service career. He moved to Yangchow to sell his works and became known as one of Eight Eccentrics of Yangchow. A scholar in a small skiff is being transported leisurely along a stream bank lined with peach and willow trees. Though this work does not follow the poetry of T’ao Yuan-ming, the artist has made several references to T’ao, and the peach and willow are also intimately associated with T’ao. Huang Shen painted the willow trunks with twisting and spirited lines. The untrammeled brushwork complements the unique cursive inscription. This was donated to the Museum by Mr. Li Shih-tseng. @#@@#@內容簡介（英文）@#@A small boat bearing a certain gentleman as a passenger glides forward beneath green willows; in the distance to the left of the small arched bridge and grove of blossoming peach trees is a cottage, where someone sits, awaiting a guest. Willows and peach trees are often associated with T’ao Yuan-ming, the author of the poems Master Five Willows and The Peach Blossom Spring, and in fact this scene recalls the otherworldly atmosphere of the Spring. The painting, however, is not directly modeled on this poet’s life or writings, but the artist’s colophon does refer to T’ao in several places. In terms of brushwork, Huang Shen paints with delightfully twisting lines that seem to move at great speed. This is noticeable even the handling of the texture strokes that define the rocky bank of the stream. Huang Shen, a native of Ning-hua, Fukien, was born into a poor family and so abandoned any attempt at the civil service exams, which were the usual road to fortune and fame. He studied painting with Shang-kuan Chou (b. 1665). Moving to Yangchow to better sell his paintings, he soon became one of the leading lights of the city’s art world. @#@@#@內容簡介（英文）@#@ Huang Shen (style name Yingpiao), native to Ninghua, Fujian, was born to a poor family and pursued painting as a career. After his renown in art rose, he moved to Yangzhou to sell paintings. He stood out among members of the Yangzhou School for his wild, unbridled brushwork. In this work donated to the Museum by Mr. Li Shizeng, a scholar in a skiff is being transported leisurely along a stream lined with peach and willow trees. Though it does not follow the poetry of Tao Yuanming (365-427), the artist made several allusions to Tao’s verse, and the peach and willow here remind one of Tao’s Peach Blossom Spring. Huang painted the trees with twisting, spirited lines, as the untrammeled brushwork complements the unique cursive inscription.(20100103)
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