【作品基本信息】
| 作者 | 溥儒（溥心畬） |
| 品名 | 山水单片图 |
| 朝代 | 近现代 |
| 文件大小 | 18.01MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 2120×2832 |
| 尺寸（CM） | 17.94×23.97 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画 |
| 品名 | 民国溥儒山水 单片 |
| 分类 | 绘画 |
| 作者 | 溥儒 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 98.8×32.9 |
| 全幅 | 125.4×44.1 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 溥儒 | 本幅 | 突兀半山。楼观依稀。远涧行人。松雨昼翻。渔网竹风。秋满吟巾。镜如先生教正。溥儒画。 | 行书 | |
|
印记： 旧王孙、松巢客、江山为助笔纵横、溥儒 |
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印记资料
| 【印记类别】 | 【印记】 |
| 收传印记 | 吉星福张振芳夫妇共珍藏 |
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 | ||
| 其他主题 | 山水 | 江河、湖海 | |
| 其他主题 | 树木 | ||
| 其他主题 | 人物 | 百姓 | |
| 其他主题 | 船 |
技法
| 【技法】 | 【技法细目】 |
| 写意 | |
| 苔点 |
参考数据
| 【类别】 | 【参考数据】 |
| 内容简介（中文） |
溥儒（公元一八九六－六三年），河北宛平人。字心畬，别署西山逸士。清宗室，恭亲王奕欣之孙。幼即究心文学、书法、绘画。其画作系出自学，风格清逸出尘。时人誉为民国画家之中，最能得传统之精髓者。 本幅临自日本高桐院所藏之李唐「山水图」。原画为绢本，溥氏以纸本临写，通幅运笔迅疾，近乎明代浙派风格。幅上款识「临郭河阳笔」，当指树枝部份之「蟹爪」笔法。 |
| 内容简介（英文） |
Landscape P’u Hsin-yu (1896-1963) Republican Period P’u Ju, also known by his style name Hsin-yu, was a native of Wan-p’ing (modern Peking). He also used the name His-shan I-shih. A member of the Ch’ing dynastic family, P’u Hsin-yu was the grandson of I-shin, Duke of Kung. During his childhood, he devoted himself to the study of literature, painting, and calligraphy. He learned painting on his own and developed a pure and untrammelled style far removed from the ordianary. Of Republican period artists, he is considered the one most able to capture the spirit of traditional masters. This painting is P’u Hsin-yu’s copy of a landscape painting by Li T’ang (ca. 1070s-1150s) in the Koto-in in Japan. The original painting was executed on silk, but P’u Hsin-yu used paper to paint his rendition. The brushwork is swift throughout the painting, and the style resembles that of the Che school of the Ming dynasty. P’u Hsin-yu has inscribed this painting, “copying Kuo His, ” and he has painted “crab-claw” tree branches in Kuo His’s style. |
| 内容简介（中文） |
溥心畬（公元一八九六－一九六三年）之绘画原无师承，系自习与临摹而奠定基础。虽擅长人物、花鸟、山水各种题材，在传统文人画观念影响之下，还是偏重于山水画。 溥氏曾临习南北宗诸家山水，从作品来看，师法唐寅，上追马远、夏珪的风格居多。如「秋山晚色」用笔近似唐寅之挺健灵秀，「方壸云山画意」则追法马远、夏珪之苍劲潇洒。 至于「山水」以斧劈的笔势，综合南宗松秀的笔趣，另成新意。「天目山」之皴笔繁多，而强调折转之笔趣，隐有追仿郭熙之意。「杰阁飞帆」为工谨之界画，饶南宋院体台阁画之古意，故溥氏之山水，实亦兼融多家名笔之妙。 |
| 内容简介（英文） |
P’u Hsin-yu (1896-1963) learned painting through diligent copying of works by ancient masters and not through study under a teacher. Although he excelled in painting figures, birds and flowers, and other subjects, he mostly painted landscapes because he was influenced by the tradition of literati painters. P’u Hsin-yu copied the works of artists in both the Southern and Northern schools of painting. From his own paintings, it is evident that he learned the style of T’ang Yin (1470-1535) and often pursued the styles of Ma Yuan (fl. 1190-1222) and Hsia Kuei (fl. 1190-1224). For instance, his brushwork in Autumn Mountains in the Evening is similar to T’ang Yin’s robust, facile, and elegant brushwork. In Cloudy Mountains in the Manner of Fang Ts’ung-I, P’u Hsin-yu imitated the tensile yet unrestrained brushwork of Ma Yuan and Hsia Kuei. For Landscape, P’u Hsin-yu used axe-cut texture strokes adopted from the brush idea of the Southern school to create a new style. In Mt. T’ien-mu, P’u also ultimately derived his complicated brushwork characterized by many twists and turns from Kuo His (11th cent.). The precise, architectural-style of painting (chieh-hua) which P’u Hsin-yu used in Pavilion and a Sail Boat has its roots in the Southern Sung (1127-1279) court artists’ method of painting palaces and pavilions. P’u Hsin-yu thus incorporated into his landscape paintings many techmiques from ancient masters. |
| 收藏着录 | 吉星福代表张振芳教授伉俪捐赠文物目录，页104、180 |
【作品展示】
民国溥儒山水单片民国溥儒山水单片
