| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈初編（養心殿），上冊，頁667
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故宮書畫錄（卷五），第三冊，頁28
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故宮書畫圖錄，第一冊，頁103-104
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收藏著錄
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明張丑清河書畫舫
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參考書目
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1.陳韻如，〈五代南唐巨然蕭翼賺蘭亭圖 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44-49。
2.胡賽蘭，〈巨然蕭翼賺蘭亭圖〉，收入石守謙、葛婉章主編，《大汗的世紀:蒙元時代的多元文化與藝術》（臺北：國立故宮博物院，2001年初版），頁289。
3.傅申，〈巨然存世畫蹟之比較研究〉，《故宮季刊》，第二第二期（1967年十月)，51-79。
4.宋后玲，〈茶話‧茶畫〉，《故宮文物月刊》，1卷4期（1983），頁103-107。
5.莊伯和，〈談麈尾〉，《故宮文物月刊》，1卷5期（1983），頁77-82。
6.莊嚴，《山堂清話》（台北：國立故宮博物院，1980）。
7.陳葆真，〈蕭翼賺蘭亭－談閻立本〉，《古代畫人談略》（台北：國立故宮博物院，1978），頁1-4。
8.陳韻如，〈五代南唐蕭翼賺蘭亭圖〉，收入何傳馨主編，《山水合璧：黃公望與富春山居圖特展》（臺北：國立故宮博物院，2011年五月初版一刷），頁326-327。
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內容簡介（中文）
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巨然（西元十紀後半葉），南唐鍾陵人，開元寺的和尚。南唐被宋滅亡（西元九七五）巨然隨李後主降宋，而遷至汴梁。擅畫山水，畫法學自董源。 這幅畫描繪蕭翼賺蘭亭圖的故事。唐太宗酷愛王羲之、王獻之的書法，聽說辯才和尚藏有羲之蘭亭序真蹟，於是派遣御史蕭翼設法謀取。翼便以書生的打扮，先與辯才交遊，兩人常以詩文酬答，情感融洽，漸漸地，辯才對翼不加防備。有一天，趁辯才和尚外出，翼便偷走蘭亭真蹟。
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內容簡介（中文）
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董源、巨然為十世紀江南山水代表畫家。巨然，南唐鍾陵人，開元寺和尚。南唐亡，巨然隨李後主降宋，遷至汴梁。此畫前景繪河岸緩坡，中景一小橋連接叢林小徑，山谷中院落掩映，遠景群峰繚繞。峰巒林麓多礬頭卵石，山石明潤具光影效果，與畫史記載中巨然畫風相類，屬巨然風格的宋人畫。畫中建築僧人活動其中，有論者據此認為本幅繪唐太宗遣蕭翼賺蘭亭序真蹟的故事。
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內容簡介（中文）
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此作自明末以來即傳為南唐入宋畫僧巨然之作。後世一般以巨然師法董源，但據早期文獻，巨然在開封宮廷時曾為翰林學士院作山水屏風，卻是使用華北的李成風格。 直立而簡樸的山間群木、深濃墨點的樹叢植被、峰頂與河畔出現的大小卵石，都顯示著巨然風格的特徵。畫中略帶折角的峰頂樣式，尤與董源之圓渾緩丘不同，其古意則符合北宋早期文獻所記。或因畫中建築院落中確有僧人活動其間，故其主題想來被指為蕭翼賺蘭亭故實，但是否正確，仍待進一步考察。(20061206)
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內容簡介（英文）
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Since the late Ming dynasty, this work has been attributed to the monk-painter Chu-jan, who followed the submission of the Southern T'ang to the Sung. Later generations generally considered Chu-jan as a follower of the style of Tung Yuan. However, according to early records, Chu-jan at the court in K'ai-feng did landscape screen paintings at the Hanlin Institute of Academicians in the northern style of Li Ch'eng rather than the southern one associated with Tung Yuan. Groves of trees among plain and vertical peaks, dark ink dots defining trees and vegetation, and rounded rock forms in various sizes define the landscape of peaks and a riverbank, being all typical features associated with the Chu-jan style. The slight angularity to the peak tops, however, differs in particular with the gentle rolling hill forms of Tung Yuan. Nonetheless, the archaic effect here conforms to records in early Northern Sung texts. Perhaps because of the monk activities in the courtyard, it probably reminded someone of the story of Hsiao I traveling to the temple of the monk Pien-ts’ai to steal the precious Lan-t'ing (Orchid Pavilion) calligraphy for the T'ang emperor T'ai-tsung. However, this is uncertain and requires further study.(20061206)
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內容簡介（英文）
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Tung Yuan and Chu-jan were major Kiangnan landscape artists. The latter, native to Chung-ling, was a monk at K’ai-yuan Temple. He followed the Southern T’ang ruler, Li Hou-chu, in surrendering to the Sung, moving to Pien-liang. The foreground here depicts gentle slopes by a river, the bridge in the middle connecting to a forested path. In the valley is a shaded courtyard with trees on clustered peaks in the distance. Peaks and foothills mostly reveal alum lumps, the land having a moist, luminescent quality similar to records of Chu-jan’s style; this a Sung (960-1279) work in his manner. Some scholars believe the monks here illustrate the story of Emperor T’ai-tsung sending Hsiao I to steal the Lan-t’ing masterpiece of calligraphy by Wang Hsi-chih.
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內容簡介（英文）
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The monk Chu-jan, a native of Nanking, excelled at painting misty landscapes in ink. This scroll illustrates a famous incident in Chinese calligraphy. Wang Hsi-chih's masterpiece, The Orchid Pavilion Preface, had been lost for years. It was discovered by Emperor T'ai-tsung (r. 627-649), a devotee of Wang's style, to be in the possession of the old monk, Pien-ts'ai. Hsiao I, an imperial official ordered to retrieve the masterpiece, disguised himself and called upon the monk. Hsiao I intentionally showed him superb examples of calligraphy, tricking Pien-ts'ai into revealing the whereabouts of the Preface. Seizing the chance, Hsiao I stole the masterpiece and he took it back to the capital, where he presented it to the Emperor.
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網頁展示說明
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巨然活動於十世紀後半，南唐鍾陵人，隨李後主北上汴京而畫名大盛。畫上鈐元順帝鑒藏印「宣文閣寶」，屬元人所認識的巨然風格之一。畫作描繪群峰高低環繞山間谷地，明人推測此為唐人巧取〈蘭亭序〉真跡的故事。畫中叢樹枝幹多簡樸線條，兩側再加墨點。不論是高低相倚的山峰，或河岸水際，皆有大小圓弧石塊一再出現。此類江南風格的重要母題，因黃公望等元代後續者運用，遂成重要古代典範。(20110609)
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網頁展示說明
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Juran, a native of Zhongling in the Southern Tang, was active in the latter half of the tenth century and accompanied the ruler Li Houzhu in going north to the Song capital of Bianjing, becoming a famous painter at the time. This painting has the collection seal of Emperor Shundi (Toghan-Temur) of the Yuan, ''Treasure of the Xuanwen Pavilion,'' making it one of the works by which Juran's style was known in the Yuan dynasty.
The work depicts a group of high and low peaks surrounding a mountain valley, which in the Ming dynasty was considered to illustrate the Tang dynasty story of Xiao Yi getting the ''Orchid Pavilion Preface'' original by means of deception. The branches of the trees here are mostly done as unadorned lines with dots added to either side. Both the high and low peaks supporting each other and the watery expanse by the riverbank appear with arcing rocks of various sizes. This important motif in the Jiangnan style, which was continued by such later Yuan artists as Huang Gongwang, became an important paradigm from antiquity.(20110609)
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網頁展示說明
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10世紀後半に活動した巨然は南唐鍾陵の人で、李後主に隨って北方の卞京へ移り、畫家としてその名を轟かせた。畫上には元順帝の鑑蔵印「宣文閣寶」があり、元人が認めた巨然の畫風の一つに屬する。本作には、山間の窪地を取り囲む高低不揃いの郡山が描かれている。明人は、唐人が「蘭亭序」の真蹟を首尾よく騙し取った場面を描いたものと推測している。本作に描かれた樹木の多くが簡素な線で表現され、両側に墨点が加えてある。高低まばらな山々のほか、川岸にも大小異なる円弧形の岩石が多數描かれている。このような江南の畫風に見られる重要なモチーフは、黃公望など元代の畫家も用いたため、しだいに古代山水畫の重要な典範の一つとなった。(20110609)
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