| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈三編（延春閣），第五冊，頁2071
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁460
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收藏著錄
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故宮書畫圖錄，第八冊，頁231-232
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參考書目
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1.何傳馨，〈明董其昌夏木垂陰〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁103。
2.林莉娜，〈明董其昌夏木垂陰圖〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁324。
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參考書目
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〈明董其昌夏木垂陰圖 軸〉，收入李玉珉、何炎泉、邱士華主編《妙合神離-董其昌書畫特展》（臺北：國立故宮博物院，2016.01），頁178-183、390。
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內容簡介（中文）
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董其昌（1555－1636），江蘇華亭人。字玄宰，號思白。萬曆十七年（1589）進士，官至禮部尚書。畫山水宗法五代董源、巨然，並集宋元諸家之長，而成自家風貌。筆墨爽朗瀟灑，秀潤蒼鬱，別有風格。收藏甚豐富，又兼擅書法，精於賞鑑。近景畫兩樹擎立，佔畫面三分之一；隔岸主峰雙層疊峙，其間穿錯著林木、山嵐、屋宇、流泉，起伏有勢，層層遠去，構圖簡明而氣概雄偉。畫中山樹用筆抑揚提頓，全從書法中得來，婉轉靈動富變化。用墨濃淡燥濕，層次很多，為董其昌傳世畫蹟中的巨幅佳作。董其昌《畫眼》論畫山云：「山不在多，以簡為貴。」又說：「古人運大軸，只三四大分合，所以成章。」強調如何掌握山川氣勢，並捨棄細碎繁瑣，以符合北宋闊重恢弘的勝概。董其昌這些見解，從這幅作品中可以看到他理論與創作的密切結合。畫上董其昌自題云，曾經在長安吳太學家中，見到董源的〈夏木垂陰圖〉後，認為黃公望雖然受董源影響，卻青出於藍，不必讓古人專美於前。並且又謙虛引述米芾的話，說自己的繪畫理論勝過筆下工夫。（許郭璜）
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內容簡介（中文）
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董其昌（西元一五五五－一六三六），江蘇華亭人，字玄宰，號思白。萬曆十七年進士。官至禮部尚書。善書，行草為有明一代之冠。畫山水，宗北苑、巨然。集宋元諸家之長。筆墨爽朗瀟灑，秀潤蒼鬱，別有風格。富收藏而尤精于鑒賞。曾著容臺集、畫旨、畫禪室隨筆諸書。影響後代的畫論及藝術發展很深。此幅筆法，仿五代董源，而參以黃公望作風。用筆全從書法中來的。提頓抑揚，婉轉有變化。用墨濃淡燥濕，變化層次很多。構圖複雜而不亂，是一幅傑出的好畫。
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內容簡介（英文）
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The calligraphic brushwork in this painting is modeled on that of the Five Dynasties master Tung Yuan (fl 937-975), but was also influenced by the brushwork of Huang Kung-wang of the Yuan dynasty. The brush was handled as though writing characters, each stroke driven to its conclusion with the lifting, pushing, and twisting wrist movements that are specifically identified with the practice of calligraphy. There are also great variations in the ink tones, shading from dark to light and wet to dry. The composition is complex but not confused, yielding a remarkably good painting. Tung Ch’i-ch’ang (style name Hsuan-tsai) was a native of Hua-t’ing in Kiangsu province. Receiving the Advanced Degree in 1589, he ultimately became a Minister of the Ministry of Rites. In landscape painting he followed Tung Yuan and Chu-jan of the Five Dynasties period (907-960). His brushwork was nuconventional, and his ink, moist and lush; using these he succeeded in establishing a style of his own. A collector of paintings, he was especially knowledgeable in matters of connoisseurship and exerted a profound influence on later painters and critics that persists down to the present. he is the author of Jung-tai chi, Hua-chih, and Hua-ch’an-shih sui-pi.
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網頁展示說明
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董其昌（1555－1636），字玄宰，松江華亭人。董氏由鑑賞家吳廷處觀覽董源同名之作，後追仿此畫，並加入黃公望的筆意。全幅山石樹木上下相對，左右開闔，濃墨留白強烈對比。成功運用水墨濃淡乾濕及點線技法，呈現江南山水秀潤華滋之態，觀者亦可感受夏日樹蔭的涼爽清幽。董氏由臨摹仿古入手，終至「集其大成」，塑造出諸元素重組的「胸中丘壑」。此軸為其中、晚年佳構，如此巨幅山水極少見。(20110913)
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網頁展示說明
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Dong Qichang (style name Xuanzai) was a native of Huating in Songjiang. Dong, after seeing a painting by this title by Dong Yuan at the residence of the connoisseur Wu Ting, did this work in imitation of it, also adding the brush manner of Huang Gongwang. The mountains and trees throughout the painting here are set off against each other as the spaces to the left and right open up, the dark ink and areas of white also creating a dramatic contrast. The successful application of ink in varying areas of wetness and darkness along with the techniques of lines and dots express the elegant moistness and luxuriant beauty of the Jiangnan landscape. The viewer can also sense the feeling of a cool, pure silence in the shade of trees on a summer day. Dong Qichang approached the study of painting by copying the ancients, finally achieving a “Grand Synthesis” and being able to combine various elements and motifs into “landscapes of the heart.” This is a masterpiece from Dong’s middle to later years, and such a monumental landscape is exceptionally rare.(20110913)
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