#今天繼續零確診✌️⭕️⭕️⭕️⭕️
古畫的發展就像一部精彩的交響樂章，藉著人物、花鳥、山水，不停地在歷史的脈絡中變奏著。本季的「筆歌墨舞—故宮繪畫導賞」策展人特別挑選了不同時代不同主題的繪畫佳作，呈現給所有的藝術愛好者，第一件先來看非常長的長卷鉅作【唐 楊昇 畫山水, Landscape】(30.3 x 184.2 cm)。
而這件作品之所以進入清宮，和嘉慶皇帝即位後，一連串查辦貪污官員，沒收他們的家產有關。
延伸閱讀 👉嘉慶皇帝的書畫收藏 https://www.grb.gov.tw/search/planDetail?id=3103065
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#筆歌墨舞—故宮繪畫導賞（展期：2020/04/08 ~ 07/05）
陳列室：北部院區 第一展覽區 210
Pictorial Songs of the Brush: A Guide to Paintings in the National Palace Museum Collection
Dates: 08 April 2020 ~ 05 July 2020
Gallery: 210 (Northern Branch) Exhibition Area I
https://theme.npm.edu.tw/exh109/PictorialSongs/index.html
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畫作賞析：
本幅所用絹地甚粗，山石的造型與院藏傳張僧繇〈雪山紅樹圖〉相似，都作對稱的圓弧形或古拙的錐形。兼用勾勒與青綠重設色法，樹石、屋宇格式化，富於裝飾性。卷後題跋將此歸為唐代畫家楊昇的「抹（沒）骨法」的表現。
在晚明以前畫史記載中，唐代畫家楊昇與南朝梁畫家張僧繇一樣，都是擅長人物或肖像的畫家，直到晚明才出現「沒骨山水」的記載，為晚明畫家對早期山水的揣摩之作。
從卷上嘉慶內府鑑藏印與陳淮收藏印記判斷，應為陳氏抄家之物。
The silk used here is very coarse, and the rock formations similar those in “Snowy Mountains and Red Trees” attributed to Zhang Sengyu (fl. 1st half of 6th c.) in the Museum collection: both use archaic symmetrically rounded conical shapes. Outlining is done with heavy “blue-and-green” coloring, while trees and rocks with the buildings appear formulaic yet create a decorative effect. The colophon places this in the “boneless method” of the Tang painter Yang Sheng. In painting histories before the middle Ming (1368-1644), Yang Sheng and Zhang Sengyu both are said to have specialized in figure and portrait painting. It was not until the late Ming that records of “boneless landscapes” appeared, suggesting this is a late Ming re-creation of an early manner.
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