Early Spring

類別 參考資料 內容簡介 郭熙（西元一０二三－約一０八五年），河南溫縣人。畫幅左側中間有一行小字隸書款：「早春。壬子年郭熙畫」，知此畫作於一０七二年。「早春」是「谿山行旅」之後，北宋山水另一里程碑。范寬呈現出大自然莊嚴與永恆的特質，郭熙則捕捉山水在一年四季中不同的風貌和煙雲變幻的氣氛，他畫山石多用「雲頭皴」，林木則以「蟹爪枝」見長。全幅煙嵐浮動，暗示宇宙間無窮的生機。 內容簡介 畫面左側河谷上方款書「早春壬子年（1072）郭熙畫」，上鈐「郭熙筆」一印。郭熙，河陽溫縣人，活動於宋神宗朝（1067－1084），曾為朝廷官署內廷作畫，享年八十餘歲。 本幅為郭熙傳世的重要代表作，成功地於巨大山水構圖中展現春景生機。順著畫面中央軸線，蜿蜒布列的岩塊、巨松、主山、遠峰，連成充滿能量的山體動勢。其中運筆用墨更見巧思，細膩描繪畫中的人物活動，營造出得以居游的景致。 (20110913) 內容簡介 作於一○七二年的〈早春圖〉，不僅是郭熙傳世的代表作，也是山水畫史中最重要的里程碑。郭熙在宋神宗時進入宮廷服務，正當王安石變法之際，官府殿閣的新建布置中，都使用了郭熙的山水。此作可能原來也是其中之一。 畫中構圖有著對稱性的安排，但在秩序感中又充滿著韻律的變化。而藉著墨色深淺所營造出來的光影效果，更為此山水增添了空間的奇幻。舟樵行旅等活動的加入，也進一步將此意境轉化成一個生機處處，可遊可居的神奇所在。這些表現都可以從他的《林泉高致》書中，得到理論上的印證。(20061206) Description Done in 1072, this is not only the finest representative work of the master Kuo Hsi, it is also one of the most important surviving milestones in the history of Chinese landscape painting. Under Emperor Shen-tsung, Kuo Hsi entered service at court, and during the government reforms of Grand Councilor Wang An-shih, his landscapes were used to furnish new government offices and halls. This painting may very well have been one of these works. The composition here is arranged in a symmetrical manner, but the sense of order still reveals variations full of rhythm and movement. In addition, the effect of light and dark achieved through the use of graded washes of ink also add considerably to the illusory effect of space in this landscape. The inclusion of such activities as boating, gathering firewood, and traveling takes the painting further in transforming this artistic vision into one full of life, a mystical realm where the viewer can travel and live. These forms of expression can also be found in Kuo Hsi’s notes on painting recorded in Lofty Ambitions Among Forests and Streams, making this work evidence of his theories.(20061206) Description Along the left side of the painting is a signature that reads, “‘Early Spring’ painted by Guo Xi in the ‘renzi’ year (1072).” It also bears a seal for “Brushed by Guo Xi.” A native of Wenxian in Heyang, Guo Xi was active under Emperor Shenzong (r. 1067-1084) and did paintings for the court, living beyond the age of 80. This is an important representative work surviving from the hand of Guo Xi, successfully expressing the vitality of a spring scene by means of a monumental landscape composition. Following the central axis of the painting, an array of rocky features, large pines, the main mountain, and distant peaks wind back and forth, connecting to create a dynamic mountain form filled with energy. The use of brush and ink here is even more skillful, the activities of figures in the painting done with delicacy to construct a fine scene where one can live and travel vicariously. (20110913) Description "Early Spring" is here conceived of as a mist and forestfilled mountain. The brushwork registers infinite variations of pressure and ink: the silhouette of the rocks and boulders are delineated with a heavy touch, the fog-washed trees with a light one. The washed work in harmony to express a complete idea of nature's forms under these seasonal conditions - with the tree-tops disappearing perceptibly into the vapor, their trunks still vigorously etched in darker ink. Such virtuosity, subtety, and assiduous attention to the details of expression have been urmatched by any of Kuo Hsi's followers, and this monument, dated 1072, stands as the painter's supreme masterpiece. Kuo Hsi, a native of Honan, served as an official in the Imperial Painting Academy. He excelled at landscapes and wintry forests, which were executed with complex formal compositions and profound content. Description Kuo Hsi (active late 11th century) came from Wen-hsien, Honan. He was a student (i-hsueh) in the Painting Academy, specializing in landscapes and wintry trees. He was extremely skilful and profoundly original, and although he studied the style of Li Ch’eng he was also able to express his own feelings. On a large screen or high wall he would paint tall pines and large trees, winding s