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册(折装)

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明神宗万历十九年（1591）

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本幅绢

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收藏着录： 故宫书画录（卷八）第四册，页141 收藏着录： 故宫书画图录，第二十三册，页86-92 参考书目： 1.陈韵如，〈明董其昌重峦叠翠、层峦耸秀、鹿鸣山〉，收入何传馨主编，《山水合璧：黄公望与富春山居图特展》（台北：国立故宫博物院，2011年五月初版一刷），页336-337。 内容简介（中文）： 此画册共十九开，最后一开左幅有董其昌题识，说明此为万历二十年（壬辰，1592）三月于舟中所画。第二开右幅，描绘以三角状山体环绕成一处谷地的景象。山际之间以浓绿笔墨描绘树丛，山体坡面上先有墨笔皴线，再以淡绿晕染块面。画中构图的手法，与黄公望〈九珠峰翠〉以山峰环绕谷地的处理相似。但是，在此画中董其昌将下侧河口部分紧收封闭，借描绘树丛以强调山谷的内收效果，如此一来，也将其山水构图转成更具平面组合变化的新模式。董其昌除了以笔墨追求古代传统之外，也有意从构图重新诠释黄公望画风。第五开左幅，此开画幅山体构成与〈富春山居图〉的中段山体十分相近，无论用墨皴笔，乃至于草木树法等都与之相似。董其昌在京师期间（1589-1595）见黄公望〈富春山居图〉，并于万历二十四年（1596）购得。董其昌曾自称于二十多岁开始习画，并以黄公望风格为主要学习对象。因公务往来京师、江南等地，顺途观览、搜访古书画作品，为其书画风格奠定丰厚基础。第十一开左幅山水的构成也有〈富春山居图〉之影响。笔墨带有更多水气，很能表现出山水的温润气氛。山上小块圆卵石层叠相接，也是黄公望山水常见手法。松江地区于十六世纪后半开始，如顾正谊、莫是龙等画家都企图超越文征明以来的苏州风格，进而直接上溯元四家，惟笔墨皴法仍显得扭曲复杂。但在这类董其昌所绘制的黄公望风格山水中，笔墨的运用却已显得简朴，与吴派风格相异。(20110609) 内容简介（中文）： 董其昌（西元一五五五－一六三六年），字玄宰，号思白，江苏华亭人。万历十七年（一五八九）进士，官至礼部尚书，諡文敏。天才隽逸，善书画，富收藏，尤精鑑赏。临摹书蹟，至忘寝食。行楷之妙，称绝一代。 董氏于万历十九年（一五九一）护送馆师田公之丧归葬，顺道游历福建江南一带名胜。翌年春还朝途中，阻风河道，舟中宴坐无事，遂画以纪游。画上提跋以细楷书之，用笔锋芒毕露，字势灵动倾侧，与米芾之小楷风格关傒密切。 内容简介（中文）： 董其昌（西元一五五五至一六三六年），字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚钜。 万历十九年（一五九一）辛卯，董其昌三十七岁，有闽中之行，翌年北上。此册是经途所作，记沿路胜景。册有米法云山，或用李成、郭熙、黄公望笔意，虽曰写景，实际是融自然景物于古人之笔法中，这是董其昌山水画的一贯特色。 内容简介（英文）： Tung Ch’i-ch’ang, style name Hsüan-tsai, sobriquet Ssu-pai, was a native of Hua-t’ing, Kiangsu Province (modern Shanghai). He received the chin-shih degree in 1588, and he ultimately served in the Ministry of Rites. He was an astute connoisseur and an excellent painter and calligrapher. His lanscapes followed the styles of Tung Yüan and the monk Chü-jan. His style incorporated the myriad styles of the Sung and Yüan masters. He categorized painting into the Northern and Southern Schools, and he established the orthodoxy of the Southern Schools. His theories had a profound influence on Ch’ing Dynasty painters. In 1591, when Tung Ch’i-ch’ang was thirty-seven years old, he was sent to Fukien Province. The following year, he returned to the north. This album presumably depicts the famous sites he saw during his journey. However, this album contains leaves depicting cloud mountains in the Mi style, as well as works in the styles of Li Ch’eng, Kuo Hsi, and Huang Kung-wang. Therefore, although these paintings are supposedly representational, they in fact are natural landscapes rendered in styles of earlier masters. This is one of the special characteristics of Tung’s paintings. 内容简介（英文）： Tung Ch'i-ch'ang (1555-1636) was a native of Hua-t'ing, Kiangsu province. His style name was Hsüan-tsai and he was known by the sobriquet Ssu-pai. He obtained the chin-shih degree in 1589 and went on to become the Minister of the Ministry of Rites. He was given the posthumous title Wen-min. Tung was exceptionally talented and accomplished as a calligrapher and painter; he was also a collector and an outstanding connoisseur. He frequently made free-copies and copies of old calligraphic works to the point that he would forget to eat or sleep. His ingenious semi-cursive and standard scripts were considered the best of his time. In 1591 while accompanying his teacher's coffin home for burial in the south, Tung traveled to famous locales in Fukien province and the Kiangnan region. The following spring while returning to the court, winds obstructed his waterway passage. Sitting idly aboard a boat, he painted a record of his travels. The inscription on the painting was written in thin standard script. The sharp edges of the brushstrokes are completely visible and the force of his characters is animated and slanting, revealing a style closely tied to the small standard script style of Mi Fu. 内容简介（英文）： This album (“Painting Album of Travels”) comprises nineteen folios, with the left side of the last one signed by Dong Qichang, who wrote that he did the paintings while on a boat trip in the third month of the equivalent of 1592.The right painting of the second folio (“Layer and Layers of Verdant Hills”) depicts a scene of triangular mountain forms surrounding a valley. Amongst the mountains are clusters of trees done in dark green and ink, the slopes of the peaks first rendered with brushed texture lines to which patches of light green washes were added. The compositional technique here is similar to the treatment of mountain peaks surrounding a valley in “Nine Pearly Peaks in Green.” Here, however, Dong Qichang has restricted and sealed off the river mouth at the bottom, depicting trees to emphasize the confined effect of the valley. As such, it gives the landscape composition a new mode of varied planar construction. Dong Qichang not only pursued ancient tradition via brush and ink, but also consciously created a new interpretation of Huang Gongwang’s style with the composition, too.The left painting of the fifth folio (“Layered Hills of Lofty Elegant”) has a mountain form very similar to that in the middle section of “Dwelling in the Fuchun Mountains.” In terms of ink and brush texturing, as well as the method of depicting the vegetation, all are similar to Huang Gongwang’s masterpiece. Dong Qichang was able to see Huang Gongwang’s “Dwelling in the Fuchun Mountains” while in the capital from 1589 to 1595, purchasing it in 1596. Dong Qichang himself once wrote that he had started to paint in his twenties, mainly studying the style of Huang Gongwang. He traveled to the capital and the Jiangnan area for official duties, taking the opportunity to view and search for ancient works of painting and calligraphy that would form a solid foundation for his own style.(20110609-E1) 内容简介（英文）： The left painting of the eleventh folio in the album (“Mt. Luming”) is a landscape construct that also reflects the influence of “Dwelling in the Fuchun Mountains.” The brushwork, however, is even wetter, further capable of expressing the moist atmosphere of the landscape. The small rounded rocks on top of the hills are connected together, a technique often seen in Huang Gongwang’s landscapes. In the Songjiang region starting from the latter half of the sixteenth century, such artists as Gu Zhengyi and Mo Shilong attempted to expand beyond the Suzhou style dominated by Wen Zhengming and go back directly to the Four Yuan Masters, though their brushwork and texturing still appeared somewhat contorted and complicated. But in this style of Huang Gongwang landscape that Dong Qichang has painted, the application of brush and ink is already unadorned, differing from that of the Wu School.(20110609-E2)