宋郭熙早春图 轴

Images

基本资料 藏品类型 绘画
作品号 故画00005300000
品名 宋郭熙早春图 轴
作者 郭熙;Guo Xi
书体 楷书
色彩
装裱形式
创作时间 宋神宗熙宁五年(1072)
数量 一轴
作品语文
集丛号 件: 开: 幅: 单件
释文 早春壬子年郭熙画。

典藏尺寸 【位置】 【尺寸】(公分)
本幅 158.3x108.1

质地 【质地位置】 【质地】
本幅

题跋资料 【题跋类别】 【作者】 【位置】 【款识】 【书体】 【全文】
作者款识 郭熙 本幅 壬子年(西元一○七二年)郭熙画
印记: 郭熙笔
题跋 清高宗 本幅 行书 树才发叶溪开冻, 楼阁山居最上层; 不藉柳桃闲点缀, 春山早见气如蒸。 乾隆己卯(西元1759年)御题。
印记: 乾隆宸翰、内府书画

印记资料 【印记类别】 【印记】
鉴藏宝玺 乾隆御览之宝
鉴藏宝玺 乾隆鉴赏
鉴藏宝玺 石渠宝笈
鉴藏宝玺 三希堂精鉴玺
鉴藏宝玺 宜子孙
鉴藏宝玺 养心殿鉴藏宝
鉴藏宝玺 嘉庆御览之宝
鉴藏宝玺 宣统御览之宝
鉴藏宝玺 宣统鉴赏
鉴藏宝玺 无逸斋精鉴玺
收传印记 明昌御览
收传印记 司印(半印)
收传印记 真赏
收传印记 珍秘
收传印记 丹诚
收传印记 琴书堂
收传印记 都尉耿信公书画之章
收传印记
收传印记 信公珍赏
收传印记 宜尔子孙
收传印记 东平
收传印记 阿尔喜普之印
收传印记 御赐忠孝堂长白山索氏珍藏
收传印记 九如清玩
收传印记 也园珍赏
收传印记 道济书府
收传印记 仲雅
收传印记 善卿
收传印记 肃斋
鉴藏宝玺 石渠继鉴

主题 【主题类别】 【主题(第一层)】 【主题(第二层)】 【主题说明】
主要主题 山水 春景 早春
次要主题 山水 溪涧、湍泉
次要主题 山水 瀑布
次要主题 树木 寒林.枯树
次要主题 树木
其他主题 人物 行旅
其他主题 建筑 茅草屋
其他主题 建筑
其他主题 篷舟
其他主题 山水 山径
其他主题 山水 江河、湖海
其他主题 人物 孩童
其他主题 人物 渔夫、船夫
其他主题 人物 百姓
其他主题 建筑 寺庙
其他主题 建筑

技法 【技法】 【技法细目】
皴法 卷云皴

参考资料 【类别】 【参考资料】
收藏着录 石渠宝笈初编(养心殿),上册,页642
收藏着录 故宫书画录(卷五),第三册,页52-53
收藏着录 故宫书画图录,第一册,页213-214
参考书目 1.何传馨,〈宋郭熙早春图〉,收入王耀庭、许郭璜、陈阶晋编,《故宫书画菁华特辑》(中国台北故宫博物院,1987年初版,2001年再版),页74-77。 2.许郭璜,〈宋郭熙早春图〉,收入《李郭山水画系特展》(中国台北故宫博物院,1999年初版),页1-4。 3.〈宋郭熙早春图〉,收入中国台北故宫博物院编辑委员会编,《春景山水画特展图录》(中国台北故宫博物院,1987年一月初版),页46。 4.陈韵如,〈郭熙早春图〉,收入林柏亭主编,《大观- 北宋书画特展》(中国台北故宫博物院,2006年初版一刷),页75- 77。 5.陈韵如,〈早春图〉,收入林柏亭主编,《国宝菁华 — 书画·图书文献篇》(中国台北故宫博物院,2006年12月),页197。 6.〈宋郭熙早春图〉,收入中国台北故宫博物院编辑委员会编,《名宝上珍》(中国台北故宫博物院,1995年初版一刷),页224。 7.何传馨,〈国之重宝 — 书画精萃特展〉,《故宫文物月刊》,第19期(1984年10月),页20。 8.高木森,〈郭熙「早春图」有一半是裱工伪造的劣迹吗? — 评徐小虎的「表面之下 — 补笔之研究」〉,《故宫文物月刊》,第117期(1992年12月),页76-93。 9.江兆申,〈山鹧棘雀、早春与文会(谈故宫三张宋画)〉,《故宫季刊》,第十一卷第四期(1977年夏),页13-21。 10.李霖灿,〈山水画中点景人物的断代研究〉,《故宫季刊》,第十三卷第二期(1978年冬),页25-40。 11.李霖灿,〈故宫博物院的名画宝藏(上)〉,《故宫季刊》,第十三卷第四期(1979年夏),页69-83。 12.陈葆真,〈从空间表现法看南宋小景山水画的发展〉,《故宫学术季刊》,第十三卷第三期(1996年春),页83-117。 13.沈以正,〈由郭熙与张择端探讨对北宋绘画创作的理念与技法〉,《中华民国建国八十年中国艺术文物讨论会论文集 书画(上)》(中国台北故宫博物院,1992),页33-44。 14.《郭熙早春图》(中国台北故宫博物院,1980)。 15.小川裕充,〈「院中名画」--从董羽、巨然、燕萧到郭熙〉,《艺术学》,第23期(2007年1月),页229-308。 16.朱淑媛,《北宋郭熙绘画观研究》,中国文化学院艺术研究所硕士论文,1979年。 17.杨元铮,〈谈耿昭忠与安岐的两方"珍祕"印〉,《故宫博物院院刊》,总第141期(2009年第1期),页60-63。 18.陈韵如,〈宋郭熙早春图〉,收入蔡玫芬主编,《精彩一百 国宝总动员》(中国台北故宫博物院,2011年九月初版一刷),页262。 19.赖国生;〈院藏高剑父山水图赏析〉,《故宫文物月刊》,第356期(2012年11月份),页116-126。 20.陈韵如;〈两宋山水画意的转折──试论李唐山水画的画史位置〉,《故宫学术季刊》,第二十九卷第四期(2012年夏),页75-107。
内容简介(中文) 郭熙(西元一0二三-约一0八五年),河南温县人。画幅左侧中间有一行小字隶书款:「早春。壬子年郭熙画」,知此画作于一0七二年。「早春」是「溪山行旅」之后,北宋山水另一里程碑。范宽呈现出大自然庄严与永恒的特质,郭熙则捕捉山水在一年四季中不同的风貌和烟云变幻的气氛,他画山石多用「云头皴」,林木则以「蟹爪枝」见长。全幅烟岚浮动,暗示宇宙间无穷的生机。
内容简介(英文) "Early Spring" is here conceived of as a mist and forestfilled mountain. The brushwork registers infinite variations of pressure and ink: the silhouette of the rocks and boulders are delineated with a heavy touch, the fog-washed trees with a light one. The washed work in harmony to express a complete idea of nature's forms under these seasonal conditions - with the tree-tops disappearing perceptibly into the vapor, their trunks still vigorously etched in darker ink. Such virtuosity, subtety, and assiduous attention to the details of expression have been urmatched by any of Kuo Hsi's followers, and this monument, dated 1072, stands as the painter's supreme masterpiece. Kuo Hsi, a native of Honan, served as an official in the Imperial Painting Academy. He excelled at landscapes and wintry forests, which were executed with complex formal compositions and profound content.
内容简介(英文) Kuo Hsi (active late 11th century) came from Wen-hsien, Honan. He was a student (i-hsüeh) in the Painting Academy, specializing in landscapes and wintry trees. He was extremely skilful and profoundly original, and although he studied the style of Li Ch’eng he was also able to express his own feelings. On a large screen or high wall he would paint tall pines and large trees, winding streams and jagged promontories, lofty peaks and soaring cliffs, or high mountains gracefully rising, transformed or obliterated by mist and clouds and partially visible among them – he could render a thousand forms and myriad appearances. His mountain peaks were high and precipitous, his trees characterized by “crab-claw” branches, and his ink fairly dilute; his brushwork resembled that of cursive calligraphy, In his early years he concentrated on developing his skill, while in his later year his brushwork became increasingly strong. He wrote the Treatise on Landscape Painting (Shan-shui hua-lun) in which he said that one should study the near and far, the shallow and deep, the effects of wind and rain, light and shadow, and the changes of the seasons and times of day.
网页展示说明 郭熙(活动于十一世纪),河南温县人。神宗熙宁年间(1068-1077),为翰林图画院艺学,善画山水。着有《林泉高致》一书,是我国画史上讨论山水画的一部重要论着。   这幅画的主要景物集中在中轴线上,近景有大石和巨松,背后衔接中景扭动的山石,隔着云雾,两座山峰在远景突起,居中矗立,下临深渊,深山中有宏伟的殿堂楼阁。左侧平坡委迤,令人觉得既深且远。作者以粗阔扭曲的线条,描绘山石轮廓,再用干湿浓淡不同的墨色,层层皴擦出岩石表面的纹理,因为形状像卷曲的云块,所以称为「卷云皴」。树木枝干虬曲,枝桠像伸指布掌的样子,称为「蟹爪枝」,是承袭自宋初李成一系的特色。   画幅右侧画家自题:「早春。壬子(1072)年郭熙画。」顾名思义,这幅画作是在描写瑞雪消融,云烟变幻,大地复苏,草木发枝,一片欣欣向荣的早春景象。
网页展示说明 Kuo Hsi, a native of Honan province, entitled this work "Early Spring" and signed it "Painted by Kuo Hsi in the jen-tzu year (1072)." Coming after "Travelers Among Mountains and Streams" by Fan K'uan, this is one of the Museum's masterpieces of Northern Sung monumental landscape painting. Fan K'uan represented the solemn and eternal features of the mountains, while Kuo captured the essence of spring with his evanescent and atmospheric use of ink washes. With "cloud-head" texture strokes for the mountain forms and "crab-claw" ones for the trees, the landscape in this painting seems to almost pulsate, flow, and disappear (only to reappear again), suggesting the hidden forces of Nature and the cosmos at work.
内容简介(中文) 作于一○七二年的〈早春图〉,不仅是郭熙传世的代表作,也是山水画史中最重要的里程碑。郭熙在宋神宗时进入宫廷服务,正当王安石变法之际,官府殿阁的新建布置中,都使用了郭熙的山水。此作可能原来也是其中之一。 画中构图有着对称性的安排,但在秩序感中又充满着韵律的变化。而藉着墨色深浅所营造出来的光影效果,更为此山水增添了空间的奇幻。舟樵行旅等活动的加入,也进一步将此意境转化成一个生机处处,可游可居的神奇所在。这些表现都可以从他的《林泉高致》书中,得到理论上的印证。(20061206)
内容简介(英文) Done in 1072, this is not only the finest representative work of the master Kuo Hsi, it is also one of the most important surviving milestones in the history of Chinese landscape painting. Under Emperor Shen-tsung, Kuo Hsi entered service at court, and during the government reforms of Grand Councilor Wang An-shih, his landscapes were used to furnish new government offices and halls. This painting may very well have been one of these works. The composition here is arranged in a symmetrical manner, but the sense of order still reveals variations full of rhythm and movement. In addition, the effect of light and dark achieved through the use of graded washes of ink also add considerably to the illusory effect of space in this landscape. The inclusion of such activities as boating, gathering firewood, and traveling takes the painting further in transforming this artistic vision into one full of life, a mystical realm where the viewer can travel and live. These forms of expression can also be found in Kuo Hsi’s notes on painting recorded in Lofty Ambitions Among Forests and Streams, making this work evidence of his theories.(20061206)
内容简介(中文) 画面左侧河谷上方款书「早春壬子年(1072)郭熙画」,上钤「郭熙笔」一印。郭熙,河阳温县人,活动于宋神宗朝(1067-1084),曾为朝廷官署内廷作画,享年八十余岁。 本幅为郭熙传世的重要代表作,成功地于巨大山水构图中展现春景生机。顺着画面中央轴线,蜿蜒布列的岩块、巨松、主山、远峰,连成充满能量的山体动势。其中运笔用墨更见巧思,细腻描绘画中的人物活动,营造出得以居游的景致。 (20110913)
内容简介(英文) Along the left side of the painting is a signature that reads, “‘Early Spring’ painted by Guo Xi in the ‘renzi’ year (1072).” It also bears a seal for “Brushed by Guo Xi.” A native of Wenxian in Heyang, Guo Xi was active under Emperor Shenzong (r. 1067-1084) and did paintings for the court, living beyond the age of 80. This is an important representative work surviving from the hand of Guo Xi, successfully expressing the vitality of a spring scene by means of a monumental landscape composition. Following the central axis of the painting, an array of rocky features, large pines, the main mountain, and distant peaks wind back and forth, connecting to create a dynamic mountain form filled with energy. The use of brush and ink here is even more skillful, the activities of figures in the painting done with delicacy to construct a fine scene where one can live and travel vicariously. (20110913)
网页展示说明 郭熙(活动于西元十一世纪),河南温县人,神宗时为宫廷画师,早先曾经为京师几个重要的宫殿与寺庙绘制大型的屏风画或壁画,深受皇帝赏识,后来升迁为翰林图画院最高职位的「待诏」,制作了许多大型山水画。他擅长巨障长松,烟云变灭之景,山石用「卷云皴」,树木作「蟹爪」状,创为一派。 此图作于神宗熙宁五年(1072),是存世最着名之作。画上自题「早春」,顾名思义,画的是初春瑞雪消融,大地苏醒,草木发枝,一片欣欣向荣的景象。主要景物集中于中轴线上,近景大石与高大的松树,衔接中景「S」形的山石,隔着云雾,再起二峰,主峰居中,下临深渊,溪涧从谷间潺潺流下,深山中有宏伟的殿堂楼阁,悬崖上有草亭,背后衬以远山。左侧平坡委迤,遂觉有千里之遥。笔墨清润,构图综合高远、深远、平远法,呈现了可行,可望,可居,可游的理想山水。 (20110913)
参考书目 陈韵如,〈宋郭熙早春图 轴〉,收入《公主的雅集-蒙元皇室与书画鉴藏文化特展》(中国台北故宫博物院,2016.10),页100-107、270-271。
参考书目 中国台北故宫博物院编辑委员会,〈宋郭熙早春图 轴〉,收入《故宫书画菁华特辑》(中国台北故宫博物院,1996.10),页74-77。
参考书目 刘芳如、浦莉安、陈韵如,〈宋郭熙早春图 轴〉,收入《镇院国宝-范宽●郭熙●李唐》(中国台北故宫博物院,2021.10),页72-103。