| 【類別】 | 【參考資料】 |
|
收藏著錄
|
石渠寶笈續編（重華宮），第三冊，頁1508
|
|
收藏著錄
|
故宮書畫錄（卷五），第三冊，頁31
|
|
收藏著錄
|
故宮書畫圖錄，第一冊，頁127-128
|
|
參考書目
|
1.林莉娜，〈五代郭忠恕雪霽江行圖〉，收入林莉娜主編，《宮室樓閣之美 - 界畫特展》（臺北：國立故宮博物院，2000年初版），頁22-23、97-98。
2.國立故宮博物院編輯委員會，〈五代郭忠恕雪霽江行〉，收入國立故宮博物院編輯委員會編，《界畫特展圖錄》（臺北：國立故宮博物院，1986年初版），頁54。
3.陳韻如，〈宋郭忠恕雪霽江行圖 軸〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁240-245。
|
|
參考書目
|
林莉娜，〈宋郭忠恕雪霽江行圖 軸〉，收入劉芳如主編《遺珠-大阪市立美術館珍藏書畫》（臺北：國立故宮博物院，2021.08），頁44-47、261。
|
|
內容簡介（中文）
|
一般所謂的「界畫」都在畫殿閣舟船等結構複雜的對象，畫法上則以細緻而控制嚴謹的線條作為其特徵。它之成為正式畫科，發生在北宋，而郭忠恕則是第一位被提到的大師。此幅左側宋徽宗書風的題識，即指郭忠恕為作者。 畫中以兩艘大船為主，桅杆上有兩道向畫外的牽繩，卻不見牽夫，推測畫幅曾受裁切。由桅杆及舵樓之細節表現精準來看，畫家確為明瞭船舶結構的專家。而由船伕與仕女的活動中，又另點出船主與官方的可能關聯。船的正側面表現特顯古樸，至十一、十二世紀後，就少見這種畫法了。(20061206)
|
|
內容簡介（中文）
|
郭忠恕字恕先（宣和畫譜的紀載：字國寶），河南洛陽人。他的性格豪爽，行為放蕩，在文章、篆隸書法及繪畫方面，卻都有很高的造詣。年青時，在後周（951-960）作官，任博士的職務。到了宋朝，曾經當國子主簿，但遭受貶職的處分。他特別擅長於界畫，不但能把樓台殿閣畫得詳細精緻，而且還合乎尺寸比例。這幅畫的船隻，無論是船身、船艙、舵樓、桅桿等，都描繪得非常仔細，各部份的結構也非常嚴謹合理。是研究宋代船隻的最佳參考資料。
|
|
內容簡介（英文）
|
Kuo Chung-shu was a native of Lo-yang in Honan province. His tzu (style name) is recorded as both Shu-hsien and Kuo-pao. He was accomplished in the literary arts, skilled at the seal and clerical styles of calligraphy, and a good painter. He was a generous and undemanding man, who took much pleasure in the humble things of life. A minor official and scholar during the latter Chou dynasty (951-960), he became a Registrar in the National Academy under the ensuing Sung dynasty. However, in this capacity he was cashiered and banished.As a painter, Kuo Chung-shu was classified as wonderful in landscape, rocks and trees, and architectural subjects. He was most especially famous for the accurate scale of his architectural studies. People felt they could run their hands along the bannisters in his paintings, pass along the balconies, open windows and shut doors. This painting shows boats on a river journey, their awnings piled with snow, their crewmen cowed by the cold‧
|
|
內容簡介（英文）
|
In general, so-called “ruled line” painting often involves such complex subjects as buildings and boats. The method features the precise control and refinement of the brush. Ruled-line painting became a formal theme in Chinese painting during the Northern Sung, and Kuo Chung-shu is mentioned as its first master. The left side of this painting bears an inscription in the style of Emperor Hui-tsung referring to Kuo Chung-shu as the artist. The subject here is two large boats. Attached to the masts of both is a rope extending beyond the border of the painting. As such, with no one seen pulling, it suggests that the right part of this work had been cut off at some time in the past. Judging from the refined and precise brushwork of the boats and their details, the painter must have been a professional with a high degree of understanding in the structure of boats. Furthermore, based on the activities of the men and ladies on the boats, it appears that those in charge of the ships were related to the government. The unusually simple form of the sides and front of the ships is rarely seen in painting after the 11th or 12th century.(20061206)
|