國寶再現-書畫菁華特展

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書畫菁華特展 Another Look at National Treasures: Select Masterpieces of Painting and Calligraphy in the Museum Collection


目 次 CONTENTS 展覽概述 --------------------------------------------------------------------------------------- 4 Introduction

圖版及作品說明 ----------------------------------------------------------------------------11 Plates & Descriptions

1. 晉 王羲之 平安何如奉橘三帖 --------------------------------------------------------12 Three Passages: Ping’an, Heru, and Fengju Wang Xizhi (303-361), Jin dynasty

2. 唐 閻立本 蕭翼賺蘭亭 -----------------------------------------------------------------18 Xiao Yi Acquiring the “Orchid Pavilion Preface” by Deception Yan Liben (?-673), Tang dynasty

3. 唐 玄宗 鶺鴒頌 --------------------------------------------------------------------------28 Ode on Pied Wagtails Xuanzong (685-762), Tang dynasty

4. 唐 徐浩 朱巨川告身 --------------------------------------------------------------------42

Certificate for Zhu Juchuan Xu Hao (703-782), Tang dynasty

5. 宋太祖坐像 --------------------------------------------------------------------------------52 Seated Portrait of Song Taizu Anonymous, Song dynasty (960-1279)

6. 宋仁宗后坐像 -----------------------------------------------------------------------------56 Seated Portrait of Song Renzong’s Empress Anonymous, Song dynasty (960-1279)

7. 宋 范寬 秋林飛瀑 -----------------------------------------------------------------------66 Autumn Woods and Flying Cascade Fan Kuan (ca. 950-ca. 1031), Song dynasty

8. 宋 蘇軾 尺牘(寶月、喫茶帖) ----------------------------------------------------------76 Letters (Baoyue, Chicha) Su Shi (1037-1101), Song dynasty

9. 宋 米芾 致希聲吾英友尺牘並七言詩 -----------------------------------------------80 Letter to My Friend Xisheng with a Seven-character Poem Mi Fu (1051-1108), Song dynasty

10. 宋 易元吉 猴貓圖 -----------------------------------------------------------------------84 Monkey and Cats Yi Yuanji (latter half of the 11th c.), Song dynasty

11. 宋人 冬日嬰戲圖 ------------------------------------------------------------------------92 Children Playing on a Winter Day Anonymous, Song dynasty (960-1279)

12. 宋人 富貴花狸 ------------------------------------------------------------------------- 102 Calico Cat Under Noble Peonies Anonymous, Song dynasty (960-1279)

13. 宋 高宗 賜岳飛手敕 ------------------------------------------------------------------ 110 Imperial Order Presented to Yue Fei Gaozong (1107-1187), Song dynasty


14. 宋 蕭照 畫山腰樓觀 ------------------------------------------------------------------ 114 Buildings on a Mountainside Xiao Zhao (12th c.), Song dynasty

15. 宋寧宗后坐像 --------------------------------------------------------------------------- 124 Seated Portrait of Song Ningzong’s Empress Anonymous, Song dynasty (960-1279)

16. 宋 夏珪 溪山清遠 --------------------------------------------------------------------- 132

Pure Distance of Mountains and Streams Xia Gui (fl. 1195-1224), Song dynasty

17. 宋 陳居中 文姬歸漢圖 --------------------------------------------------------------- 150

Lady Wenji’s Return to China Chen Juzhong (fl. 1195-1224), Song dynasty

18. 宋 馬麟 三官出巡圖 ------------------------------------------------------------------ 162

Three Officials on an Inspection Tour Ma Lin (fl. 1195-1264), Song dynasty

19. 宋人 翠竹翎毛 ------------------------------------------------------------------------- 172 Green Bamboo and Feathered Guests Anonymous, Song dynasty (960-1279)

20. 宋人 折檻圖 ---------------------------------------------------------------------------- 180 Breaking the Balustrade Anonymous, Song dynasty (960-1279)

21. 宋人 卻坐圖 ---------------------------------------------------------------------------- 186 Refusing the Seat Anonymous, Song dynasty (960-1279)

22. 宋人 松泉磐石 ------------------------------------------------------------------------- 194 Pines and Stream by Large Rocks Anonymous, Song dynasty (960-1279)

23. 金 武元直 赤壁圖 --------------------------------------------------------------------- 200

The Red Cliff Wu Yuanzhi (fl. 1149-1189), Jin dynasty

24. 宋 錢選 桃枝松鼠 --------------------------------------------------------------------- 212 Squirrel on a Peach Branch Qian Xuan (ca. 1235-1307), Song dynasty

25. 元 鮮于樞 透光古鏡歌 --------------------------------------------------------------- 220

Song on a Light-Transmitting Mirror Xianyu Shu (1246-1302), Yuan dynasty

26. 元 趙孟頫 鵲華秋色 ------------------------------------------------------------------ 236

Autumn Colors on the Qiao and Hua Mountains Zhao Mengfu (1254-1322), Yuan dynasty

釋文及款識印記------------------------------------------------------------------------------247 Transcriptions, Inscriptions, & Seals


國寶再現─書畫菁華特展

展覽概述 國立故宮博物院典藏的書畫,屬於文化部《文化資產保存法》(簡稱文 資法)所定義的「古物」,意指各時代、各族群經人為加工,具有文化意義 之藝術作品,並依其藝術性的高下,區分為「國寶」、「重要古物」和「一 般古物」三種等級。 這項古物分級工作,起初是由各公立典藏單位分頭執行。民國九十四年 (2005)底,故宮即已依《文資法》規定,完成院內的暫行分級。爾後從 九十七年(2008)起,續由文建會(文化部前身)聘請古物審議委員配合故 宮歷次的書畫展覽,進行實物勘驗及書面審議,援以訂定國寶和重要古物, 並公告周知。截至一○七年(2018)八月份,經文化部指定公告的書畫國寶 計一九三案(含 344 件),重要古物更多達三六一案(含 1701 件),數量 明顯超過國內其他博物館。 為了與國人分享故宮努力推動古物分級的亮麗成果,故宮首度於一○ 六年(2017)十至十二月間,規劃「國寶的形成─書畫菁華特展」,透過 四十五件國寶和重要古物級精品的展出,並邀請文化部與文化資產局,共同 推介古物分級制度的內涵,援以增進觀眾對古物分級制度的瞭解,達到弘揚 國寶、推廣珍貴文化遺產的目的。

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由於「國寶的形成」展覽獲得了海內外觀眾高度的肯定和迴響,故宮 乃於今年再度推出「國寶再現─書畫菁華特展」,選在二一○陳列室,展 示二十六件年代久遠的國寶級文物,其中包括東晉王羲之(303-361)〈平 安何如奉橘三帖〉、唐閻立本(?-673)〈畫蕭翼賺蘭亭圖〉、玄宗李隆基 (685-762)〈書鶺鴒頌〉、徐浩(703-782)〈書朱巨川告身〉、宋易元吉(11 世紀後半)〈猴貓圖〉、宋人〈宋仁宗后坐像〉、宋人〈冬日嬰戲圖〉、宋 人〈富貴花狸〉、高宗趙構(1107-1187)〈賜岳飛手敕〉、蕭照(12 世紀) 〈畫山腰樓觀〉、夏珪(活動於 1195-1224)〈溪山清遠〉、陳居中(活動 於 1195-1224)〈文姬歸漢圖〉、錢選(約 1235-1307)〈桃枝松鼠〉、金 武元直(活動於 1149-1189)〈赤壁圖〉、元鮮于樞(1246-1302)〈書透光 古鏡歌〉、趙孟頫(1254-1322)〈鵲華秋色〉等,堪稱件件俱是美術史上 流傳有緒,蔚為時代典範的一時之選。 本次展覽將自一○七年(2018)十月四日起至十二月廿五日止,部分限 展精品,因有四十二天的展出期限,將分成前、後兩期展出,十月四日至 十一月十四日為前期,十一月十五日至十二月廿五日為後期。類此重量級的 精品展出至為難得,相信一定會成為今年院慶期間最吸睛的藝術展演,竭誠 歡迎大家把握良機來院觀展,細細品賞國寶名作之美。

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Another Look at National Treasures: Select Masterpieces of Painting and Calligraphy in the Museum Collection

Introduction Based on the definition given by the ROC’s Ministry of Culture in its “Cultural Heritage Preservation Act,” the works of painting and calligraphy in the collection of the National Palace Museum belong to the category of “Historic Artifacts (Antiquities).” It means they are art objects with cultural importance that represent the work of particular groups of people from certain periods of time over the course of history. These objects are further divided and classified into three groups, from the most important artistically of “National Treasures” to that of “Significant Historic Artifacts (Significant Antiquities)” and finally “General Historic Artifacts (General Antiquities).” The task of ranking artifacts begins with the departments of public institutions in charge of their care. By the end of 2005, the National Palace Museum had already completed the provisional classification of artifacts in its large collection based on the “Cultural Heritage Preservation Act.” Afterwards, beginning in 2008, members of the Review Committee for Historic Artifacts at the Council for Cultural Affairs (forerunner of the Ministry of Culture) assembled a committee and worked in conjunction with the painting and calligraphy exhibitions at the National Palace Museum to conduct inspections and written reviews. Confirming the works ranked as “National Treasures” and “Significant Historic Artifacts,” the results were thereafter made public. As of August 2018, a total of 193 “National Treasures” (including 344 individual objects) and 361 “Significant Historic Artifacts” (including 1,701 individual objects) in the category of painting and calligraphy have now been approved and declared--far more than any other domestic museum. To share with audiences the classification system of artifacts and see the results of this effort, the National Palace Museum organized in 2017 a special exhibit on “The Making of a National Treasure: Select Masterpieces of Painting and Calligraphy in the Museum Collection.” Through that display of 45 National Treasures and Significant Historic Artifacts, and along with the Ministry of Culture and the Bureau of Cultural Heritage, the Museum was able to promote the ranking of artifacts to give audiences a better understanding of this system while presenting these national treasures and precious examples of cultural heritage.

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Due to the enthusiastic response of local and international visitors, the Museum in 2018 is once again holding this exhibit at its northern branch with a completely new selection of works under the title of “Another Look at National Treasures: Select Masterpieces of Painting and Calligraphy in the Museum Collection.” On display in Gallery 210, this year’s exhibit includes a total of 26 precious works of painting and calligraphy in the “National Treasure” category, such as Wang Xizhi’s (303-361) “Three Passages: Ping’an, Heru, and Fengju” of the Eastern Jin dynasty; Yan Liben’s (?-673) “Xiao Yi Acquiring the ‘Orchid Pavilion Preface’ by Deception,” Emperor Xuanzong’s (Li Longji, 685-762) “Ode on Pied Wagtails,” and Xu Hao’s (703-782) “Certificate for Zhu Juchuan” of the Tang dynasty; Yi Yuanji’s (latter half of the 11th c.) “Monkey and Cats,” Emperor Gaozong’s (Zhao Gou, 1107-1187) “Imperial Order Presented to Yue Fei,” Xiao Zhao’s (12th c.) “Buildings on a Mountainside,” Xia Gui’s (fl. 1195-1224) “Pure Distance of Mountains and Streams,” Chen Juzhong’s (fl. 1195-1224) “Lady Wenji’s Return to China,” Qian Xuan’s (ca. 1235-1307) “Squirrel on a Peach Branch,” and the anonymous “Seated Portrait of Song Renzong’s Empress,” “Children Playing on a Winter Day,” and “Calico Cat Under Noble Peonies” of the Song dynasty; Wu Yuanzhi’s (fl. 1149-1189) “The Red Cliff ” of the Jin dynasty; and Xianyu Shu’s (1246-1302) “Song on a Light-Transmitting Mirror” and Zhao Mengfu’s (1254-1322) “Autumn Colors on the Qiao and Hua Mountains” of the Yuan dynasty. Each work can be said to hold a unique place in the history of Chinese art and be a representative of its period. This exhibit runs from October 4 to December 25, 2018, and includes works further classified by the National Palace Museum as “restricted,” meaning they can only be displayed for a brief period of time (42 days). These “restricted” works have therefore been divided into two rotations, the first one from October 4 to November 14 and the second from November 15 to December 25. Such a major presentation of masterpieces is a rare occasion, making this a most important event at this celebratory time of the year for the Museum and offering audiences an opportunity to appreciate the beauty and significance of national treasures of Chinese art in person.

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国宝を再び─書画の精華

特別展

展示概要 国立故宮博物院が所蔵する書画作品は、中華民国文化部の『文化資産保存法』 に定められた「古物」に分類されます。この「古物」とは、各時代において様々 な民族により人為的に加工された、文化的な意義を有する美術品を指します。ま た、これらの古物は作品ごとに異なる芸術性により、「国宝」と「重要古物」、 「一般古物」の 3 種に分類されます。 当初、これら古物の分類作業は、作品を所蔵する公的機関単位で行われまし た。故宮では『文資法』の規定に従い、民国 94 年(2005)に院内での暫定的 な分類作業を終えました。その後、民国 97 年(2008)から行政院文化建設委 員会(文化部の前身)により招聘された古物審議委員が、それ以降に開催された 書画展覧会の度に実物を精査した上で書面による審議を行い、その結果を国宝と 重要古物指定の参考とし、指定作品が公告されました。民国 107 年(2018)8 月までに文化部指定の国宝として通知公告がなされた書画作品は計 193 件(作 品数 344 点)、重要古物は 361 件(作品数 1701 点)に達し、国内のその他博 物館の国宝指定作品数を大きく超える数量となっています。 故宮が積極的に推進する古物等級制度実施の成果をご紹介するため、民国 106 年(2017)10 月~ 12 月にかけて、特別展「国宝の形成─書画の精華」が開催 されました。45 点の国宝と重要古物の名品を通して、古物等級制度に対する理 解を深め、国宝並びに貴重な文化財を広く知っていただくことを目的に、文化部 と文化資産局を招き、古物等級制度に関する展示も行なわれました。

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特別展「国宝の形成」は国内外から大きな反響をいただきました。そこで本 年も特別展「国宝を再び─書画の精華」を開催し、悠久の時を経た国宝 26 点を 210 陳列室で展示します。東晋の王羲之(303-361)「平安何如奉橘三帖」、唐 の閻立本(?-673)「画蕭翼賺蘭亭図」、玄宗李隆基(685-762)「書鶺鴒頌」、 徐浩(703-782)「書朱巨川告身」、宋の易元吉(11 世紀後半)「猴猫図」、 宋人「宋仁宗后坐像」、宋人「冬日嬰戯図」、宋人「富貴花狸」、高宗趙構 (1107-1187)「賜岳飛手敕」、蕭照(12 世紀)「画山腰楼観」、夏珪(1195-1224 に活動)「渓山清遠」、陳居中(1195-1224 に活動)「文姫帰漢図」、銭選(1235 頃 –1307)「桃枝松鼠」、金の武元直(1149-1189 に活動)「赤壁図」、元の 鮮于樞(1246-1302)「書透光古鏡歌」、趙孟頫(1254-1322)「鵲華秋色」など、 美術史上由緒ある名品揃いと言うにふさわしい、各時代を代表する大家の作品を ご覧いただきます。 本特別展の開催期間は民国 107 年(2018)10 月 4 日から 12 月 25 日までと なりますが、一部の作品は展示期間が 42 日間に制限されているため、前期(10 月 4 日~ 11 月 14 日)と後期(11 月 15 日~ 12 月 25 日)に分けての展示と なります。これほどの名作が一堂に会する機会はめったにありません。本年の開 院記念期間中、最も注目を集める特別展となるでしょう。この機会にぜひ故宮を 訪れ、国宝指定の名作の美をじっくりとご鑑賞ください。

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圖版與作品說明 Plates & Descriptions


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晉 王羲之 平安何如奉橘三帖 紙本 行書 卷 24.7 × 47.3 公分

故書 000050

國寶 限展品 2012 年 3 月文化部核定公告

王羲之(303-361),東晉書法家,創今草與行書典範,世稱書聖。 〈平安〉、〈何如〉是王羲之寫的兩封信,〈奉橘〉原是〈何如〉帖尾 附書。流傳過程中,〈平安〉失去最後兩行,〈奉橘〉則逐漸獨立。三帖在 明末合裱成卷,並從它處移配歐陽修(1007-1072)等人的觀款。三帖皆唐人 雙鉤廓填,押署一併摹出。牽絲映帶處鋒毫畢現,可見書聖揉合快慢、方圓、 提按變化的高超筆法。單字造形富大小、偃仰、開合、欹正之變,無一雷同 又互相襯托,深刻展現出創造力。

Three Passages: Ping’an, Heru, and Fengju Wang Xizhi (303-361), Jin dynasty Handscroll, ink on paper, 24.7 × 47.3 cm Verified and declared by the Ministry of Culture in March 2012 as a National Treasure Restricted Display Work

Wang Xizhi, a famous calligrapher of the Eastern Jin period, established the paragons for modern cursive and running scripts, leading him to become known as the “Sage Calligrapher.” “Ping’an” and “Heru” were two letters written by Wang, while “Fengju” originally was appended to the “Heru” letter. During the history of their circulation, “Ping’an” lost its last two lines and “Fengru” became an independent work. The three were mounted together in the late Ming dynasty (1368-1644) and inscriptions of appreciation from elsewhere by Ouyang Xiu (1007-1072) and others added. The three passages here are all precise copies from the Tang dynasty done using fine outlines filled with ink, a technique also used for the date, title, and signature parts as well. The silk-like lines reveal the use of a centered brush, representing Wang’s supreme balance of brush quickness, roundness, and variations to the starts and stops. The characters range in size, position, openness, and slant: No two are alike, yet all highlight each other, demonstrating the artist’s great creativity.

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唐 閻立本 蕭翼賺蘭亭 絹本設色 卷 27.4 × 64.7 公分

故畫 000975

國寶 限展品 2012 年 3 月文化部核定公告

閻立本(?-673)是初唐重要人物畫家,曾奉詔作十八學士圖、凌煙閣功 臣圖等。 本幅描繪蕭翼奉唐太宗(598-649)命,騙取辯才和尚所藏王羲之(303361)〈蘭亭序〉的故事。畫中共五人,辯才與蕭翼相對,二人皆傾身向前, 目視對方,張開嘴巴,似有爭論。一僧坐於畫面上方,加強了畫面的空間感。 此人面帶愁容,彷彿暗示辯才日後的窘境。煎茶的小廝帶來生活的氣息,並 烘托主角的針鋒相對。然畫風與閻氏不類,一說是五代人顧德謙作品,一說 為宋人摹本。

Xiao Yi Acquiring the “Orchid Pavilion Preface” by Deception Yan Liben (?-673), Tang dynasty

Handscroll, ink and colors on silk, 27.4 × 64.7 cm Verified and declared by the Ministry of Culture in March 2012 as a National Treasure Restricted Display Work

Yan Liben, an important figure painter of the early Tang period, received imperial commissions to paint “The Eighteen Scholars” and portraits of meritorious officials at the Lingyan Pavilion. This painting illustrates the story of how Emperor Taizong (598-649) of the Tang dynasty ordered Xiao Yi to acquire by deception the “Orchid Pavilion Preface” by Wang Xizhi (303-361) in the collection of the monk Biancai. Five figures are depicted in this work; Biancai and Xiao Yi are facing each other in a diagonal arrangement in relation to the viewer. With their mouths open, they seem to be engaged in some kind of debate. A monk is also shown seated at the top between them to reinforce the sense of space in the composition. A feeling of gloom pervades the facial expression of this monk, as if hinting at Biancai’s impending loss of his prized treasure. A scene of attendants preparing tea to the left adds a touch of daily life to help defuse the tension between the main characters. The style of the painting here differs from that associated with Yan Liben. One scholarly opinion is that it is the work of the Five Dynasties (907-960) artist Gu Deqian, while another has it to be a copy by a Song dynasty (960-1279) artist.

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