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民國張大千仿龍眠三高士 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者張大千
- 色彩水墨
- 裝裱形式軸
- 創作時間民國三十年（1941）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@81.7x50.6
- 質地本幅@#@紙
- 題跋資料作者款識@#@張大千@#@本幅@#@辛巳（西元一九四一年）秋日背臨龍眠三高圖于敦煌。張爰。@#@行書@#@@#@題跋@#@沈尹默@#@本幅@#@癸未（西元一九四三年）冬日為岳軍先生題。尹默。@#@行書@#@三賢各有千秋在。坡老題詩故詆謾。昔李今張尋所契。平常總當畫圖看。癸未（西元一九四三年）冬日為岳軍先生題。尹默。@#@@#@題跋@#@張大千@#@上裱綾@#@七十一年（西元一九八二年）中秋奉岳軍大兄命移錄之。大千弟爰。@#@行書@#@已將動業等浮鷗。鳥盡弓藏見遠謀。越國江山留不住。五湖風月一扁舟。右范蠡。西風淅淅動高梧。目送浮雲悟卷舒。自是歸心感秋色。不應高興為鱸魚。右張翰。松菊蕭條繞屋春。不教鵝鴨惱比鄰。滿身花影猶沉醉。真是江湖一散人。右陸龜蒙。龍眠三高圖徽宗子鄆王題詩其上。七十一年（西元一九八二年）中秋奉岳軍大兄命移錄之。大千弟爰。
- 主題主要主題@#@人物@#@高士（士人、隱士）@#@@#@次要主題@#@樹木@#@松@#@@#@其他主題@#@山水@#@溪澗、湍泉@#@溪
- 技法白描@#@@#@寫意@#@@#@皴法@#@@#@人物衣紋描法(勻稱線條)
- 參考資料收藏著錄@#@張大千先生紀念展圖錄，頁14、86@#@@#@內容簡介（中文）@#@張大千（西元一八九九－一九八三年），四川內江人。名爰，號大千居士。年輕時拜曾熙、李瑞清為師。抗戰期間，曾遠赴敦煌臨摹壁畫。六十歲以後，又開創了潑墨潑彩的畫法。為享譽中外的藝術大家。 本幅為大千先生四十三歲的作品，以水墨白描法畫成。四十一年以後，他又應張岳軍先生之請，在上裱綾題寫詩句。其晚年雄渾的筆勢和早期清秀的畫風，形成了強烈的對比。本幅為張岳軍先生捐贈。 @#@@#@內容簡介（中文）@#@白描人物畫吳中高士范蠡、張翰、陸龜蒙等三人趺坐平臺上，前有流水，後植蒼松二株。畫家以圓渾挺捷的筆法描繪衣紋，筆筆中鋒細勁有力，而皴石、勾畫松樹亦是一筆不苟，當為佳作。 本幅據畫家自題云：「辛巳（1941）秋日背臨龍眠三高圖于敦煌。」時作者四十三歲。民國二十九年（1940）十月，張大千自成都出發北上敦煌，十一月聞兄張善子病逝之耗，倉促返回奔喪，隔年五月率門人子侄再赴敦煌，此圖即畫於今年（1941）秋天，而民國七十一年重題此畫則已八十四歲矣。 @#@@#@內容簡介（中文）@#@張大千（1899－1983），四川內江人。名爰，號大千居士。他幼年時即跟從母親學畫，年輕時曾拜曾熙、李瑞清為師。抗戰期間，他遠赴敦煌，在莫莫高窟、西千佛洞和安西榆林窟等處臨摹壁畫，長達兩年之久，對敦煌藝術的發揚，貢獻很大。六十歲以後，又開創了潑墨潑彩的畫法。為享譽中外的藝術大家。 平坡上，三位文士坐在兩株古松之下。全作以水墨白描法畫成，人物的衣紋先以淡墨打底，再以深墨定稿，雖然線條細如游絲，但因為複筆的關係，增添了人物的量感。根據畫幅右下方張氏的自題，本幅為他四十三歲在敦煌背臨李龍眠（1049－1106）「三高圖」的作品。四十一年以後，大千先生應張岳軍先生之請，又在上裱綾題寫宋徽宗之子鄆王的詩句，其晚年雄渾的筆勢和早期清秀畫風，形成了強烈的對比，別具一番趣味。 本幅為張岳軍先生捐贈。@#@@#@內容簡介（英文）@#@Chang Dai-chien, a native of Szechwan province, studied art as a youth under Tseng Hsi and Li Jui-ch'ing. During the Sino-Japanese War, he traveled to various grottoes including those at Tunhuang and copied ancient wall paintings over a span of two years. His contribution to the understanding of art at Tunhuang was considerable. In the 1960s, he also created a technique of splashed ink and colors that heralded him as a major painter in the international art scene. In this painting done in the “pai-miao” manner of monochrome ink, three scholars sit on a slope under two old pine trees. The drapery lines of the figures were first sketched in light ink and then finalized with darker ink. Although the lines are as fine as silk, the repeated brushwork adds a sense of weight to the figures. According to Chang's inscription below, this work represents a copy of Li Kung-lin's (1049-1106) “Three Scholars” and was done at the age of 42 while in Tunhuang. Forty-one years later, at the asking of Chang Yueh-chun, Chang Dai-chien wrote a verse by Prince Yun, son of the Sung emperor Hui-tsung (r. 1101-1125). The powerful and imposing features of Chang Dai-chien's late calligraphy contrast markedly with his delicate earlier style of painting. This work was donated to the National Palace Museum by Mr. Chang Yueh-chun.@#@@#@內容簡介（英文）@#@Chang Dai-chien, a native of Szechwan province, studied art as a youth under Tseng His and Li Jui-ch’ing. During the Sino-Japanese War, he traveled to Tunhuang and copied ancient wall paintings there. In the 1960s, he created a technique of splashed ink and colors that heralded him as a major artist in the international scene. This work was done in the pai-miao manner of monochrome ink and was completed at the age of 42. Forty-one years later, Chang Yueh-chun asked Chang Dai-chien to inscribe the top mounting of the painting with his poetry. The powerful and imposing features of his late calligraphy contrast markedly with his delicate earlier painting style. This work was donated by Mr. Chang Yueh-chun.
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