Anonymous (Ming Dynasty) Palace in Blue and Green Landscape
Lot 704
Anonymous (Ming Dynasty) Palace in Blue and Green Landscape
HK$ 900,000 - 1.2 million
US$ 120,000 - 150,000
Lot Details
Anonymous (Ming Dynasty)
Palace in Blue and Green Landscape
Ink and colour on paper, handscroll
With eight seals of the collectors
40.5cm x 307.5cm (16in x 121in).

Footnotes

  • Provenance: private collection, Taiwan

    明 無款 雲台樓閣 設色紙本 手卷

    藏印:(一鈐)、江邨、吳廷之印、成親王、戊午後施德之收藏印、默夫、天都老人、(一鈐)

    來源:台灣私人收藏

    界畫,畫史上又稱為「屋木」或「宮室」,是中國畫中以建築為表現對象的畫科,宋代依其所用工具和以界尺引線作畫的性質,稱之為「界畫」。它盛於五代和兩宋,至元代時雖因文人畫的興起而呈衰退之勢,但仍流傳下了王振鵬「龍舟圖」、李榮瑾「漢苑圖」等不朽傑作。到了明代,隨著城市經濟的繁榮發展與建築技術的重要改進,不僅精美樓閣遍布天下,而且樓閣設計更加多變,各種折角、十字、多層、甚至懸空抱廈的設計,被運用得爐火純青。相應的,明代的建築界畫,除了繼承南宋精準細緻的畫風,其描繪的建築外形也更為精湛複雜。明代界畫的另一發展,則是將大幅的山水畫與建築界畫相結合,雖然建築在巨大的篇幅中只佔一部分,卻毫不疏於細節。這一發展雖在元畫(如李榮瑾「漢苑圖」)已見端倪,但元代界畫多採墨筆白描法,且畫面仍以描寫建築為主,較少故事情節;而明代界畫則多設色濃艷,山水畫所佔比例更重。至清初,由於受到西洋透視法和明暗法的影響,界畫的建築描繪增強了立體空間感,但清中期以後又逐漸式微了。

    展開此軸畫卷,只見一座宏偉壯觀的建築群體,自東而西,橫向坐落在青綠山水之間,因山就勢,雲霧繚繞,如臨仙境。院落門外,幾位雅士正領着隨從,攜琴趕羊,前來赴會。門口一排參天蒼松依牆聳立,虬健挺拔。行過一座拱橋,只見數座巍峨的樓閣矗立於高台之上,造型精美,富麗堂皇。樓閣的級別甚高,皆為重簷式建築,兩座主樓分別採用重簷式歇山頂和重簷式十字脊歇山頂,上層樓閣飽滿,斗拱平坐挺拔,擎簷柱直接立於平坐上面,為典型的明代建築風格。樓閣內設有雅座與眺廊,文人三五成群,或憑窗眺遠,或撫琴賞乐。樓閣的台基欄杆邊,一群文人正簇擁著一位束髮男子,此人身後還跟隨著兩位執大障扇的隨從,想必此人該是一位身份顯赫的高官名士。

    樓閣以西,一條長廊曲折蜿蜒於山石林木間,廊前草地上一對仙鶴翩翩起舞,吸引諸多雅士前來觀賞。溪池對面,一座精緻的重簷攒尖頂亭台坐落其間,亭內兩位高士正在對弈,另一高士含笑觀棋,兩侍從伴隨一邊。山頭之上,一座高台從雲中顯出,五位美貌女子立於其上,或盤端蟠桃,或手提執壺,似在準備一場盛宴。繼續向西,經過一段層層疊疊的山瀑,穿過崎嶇的崇山峻嶺,頓時豁然開朗,一大片開闊的農田,旁邊翠竹正綠、梅花正香,一座造型別緻的重簷捲棚頂台榭坐落其間,三兩文士臨台賞景,閒適愜意。最西側的山石旁,一座重簷歇山頂的小樓依山而建,樓柱間還懸掛著暮簾,別有一番情趣。

    整幅畫卷,山水樓閣巧妙結合,佈局疏密自然,樓閣用界工整,設色妍麗典雅。畫中樓閣皆為明代建築風格,其畫法仍採用傳統以大觀小法,尚未受到西洋透視法和明暗法的影響,呈現出典型的明代畫風。

    該畫作鈐有多枚收藏印。其中一枚「戊午後施德之收藏印」,可能為民國時定居上海的Star Talbot,拉脫維亞人,1904年來到中國,起中文名為施德之,在上海從事藥品經營,曾發明「神功濟眾水」風靡上海。他是位中國通,痴迷於中國古月軒瓷器,1930年在上海出版琺瑯彩瓷專著《中國美術》,此書是研究民國時期琺瑯彩及粉彩瓷器的重要參考資料。
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