摘要
目前学界缺乏对世传王维《辋川图》所绘季节景色的关注,唐代文献只记其清源寺壁画辋川之举。唐末李吉甫曾收藏绢本《辋川图》,宋初又有多个摹本流传,米芾《画史》多处提及《辋川图》,而《宣和画谱》却未见收录。洪迈对李吉甫父子跋文的辨伪缺乏实效。米芾是推崇王维雪景山水的第一人,据新发现的秦观跋语可证宋代流传的《辋川图》所绘景色确为雪景。晚明时期,原本擅界画楼观的郭忠恕成为《辋川图》临本的主要代表,据董其昌等描述,郭氏临本亦为雪景之象。考证《辋川图》所绘具体季节景色,对认识宋、明两代王维擅画雪景画史形象的"分化"与"层累"过程大有裨益,也会对其他一些作品描绘景色的认识有所深化。
The content of Wang Wei＇ s legendary painting Landscape at Wangcbuan has seldom been discussed by scholars. Tang dynasty documents have merely mentioned that Wang Wei did the painting on a wall at the Qj.ngyuan Temple. Li Jifu in the late Tang was reported to have a silk painting of the Landscape at Wangcbuan in his collection. By the early Song dynasty, several reproductions appeared. Although this work is recorded in Mi Fu＇ s History of Painting, it is missing in the Xuanhe Painting Manual. Hong Mai＇ s comments on the authenticity of Li Jifu and his son＇ s inscriptions are still doubtable. Apart from Mi Fu, the recently discovered colophon by Qin Guan offers evidence that Song dynasty copies of the Landscape at Wangchuan depict a landscape with snow. According to Dong Qichang and others, the copy by the late Ming dynasty painter Guo Zhongshu, who was good at architecture in a landcape, shows a snow landscape, too. Researches on the content of the Landscape at Wangchuan reflect the historical recognition of Wang Wei as a painter who was ＂best at snow＂ during the Song and Ming dynasties and will help with understanding about the content of other related works.
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2013年第11期90-105,共16页
Journal of National Museum of China
关键词
王维
辋川图
郭忠恕
秦观
雪景
Wang Wei
Landscape at Wangchuan
Guo Zhongshu
Qin Guan
landscape with snow
