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富春山居图

富春山居图

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1

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藏品简介

此藏品为辽宁藏友所藏 有预计近期出手,价位可商议,如需咨询请联系客服。

《富春山居图》,高一尺余,长约二丈。此图展现了富春江一带景色:富春江两岸峰峦坡石,似秋初景色,树木苍苍,疏密有致地生于山间江畔,村落、平坡、亭台、渔舟、小桥等散落其间。董其昌称道,“展之得三丈许,应接不暇。”确给人咫尺千里之感。这样的山水画,无论布局、笔墨,还是以意使法的运用上,皆使观者不能不叹为观止。正如恽南田所说,“所作平沙秃峰为之,极苍莽之致。”董其昌还曾说,他在长安看这画时,竟觉得“心脾俱畅”。

1350年黄公望将此图题款送给无用上人。《富春山居图》便有了第一位藏主,从此开始了它在人世间600多年的坎坷历程。此画作成之初,无用上人就“顾虑有巧取豪夺者”。不幸被他言中,明成化年间沈周藏此图时便遭遇“巧取”者。沈周请人在此图上题字,却被这人儿子藏匿而失。后来此图又出现在市上高价出售,敦厚的沈周既难于计较又无力购买,只得背临一卷以慰情思。之后又经樊舜、谈志伊、董其昌、吴正志之手。

清顺治年间,吴氏子弟,宜兴收藏家吴洪裕得之后更是珍爱之极。恽南田《瓯香馆画跋》中记:吴洪裕于“国变时”置其家藏于不顾,惟独随身带了《富春山居图》和《智永法师千字文真迹》逃难。

其时,除了吴洪裕收藏的《富春山居图》外,当时还有另一幅《富春山居图》流传在世。

说到第二幅《富春山居图》,就不能不提到明代著名书画家沈周。明成化年间,《富春山居图》传到沈周手里。自从得到这件宝贝,沈周就爱不释手,把它挂在墙上,反复欣赏、临摹,看着看着,就看出了点问题:画上没有名人题跋。

一时的非分想法让沈周冲昏了头,他根本没有想到,像这样的珍宝藏都要藏在最隐蔽的地方,怎么能大张旗鼓地张扬呢?果不其然,当沈周把画交给一位朋友题跋时,就出了事。那位朋友的儿子,见画画得这么好就产生了歹念,把画偷偷卖掉,还愣说画是被人偷了。

一次偶然的机会,沈周在画摊上见到了被卖掉的《富春山居图》,兴奋异常,连忙跑回家筹钱买画。当他筹集到钱,返回画摊时,画已经被人买走了。沈周捶胸顿足,放声大哭,可是后悔已经晚矣。千辛万苦弄到手的《富春山居图》,如今只剩下留在头脑中的记忆了。沈周愣是凭借着记忆,背摹了一幅《富春山居图》。

被沈周丢失的真迹《富春山居图》犹如石沉大海,在相当长的时间里没有消息。后来,它又出现了,被明代大书画家董其昌收藏。董其昌晚年又把它卖给了吴洪裕的爷爷吴正志。吴洪裕继承了《富春山居图》,这才出现了临终留下焚画殉葬的遗嘱,吴子文火中救画的一幕。由于黄公望的《富春山居图》太出名了,明清画家都争相临摹,除了沈周背摹的那幅《富春山居图》外,现在有籍可查的临摹本还有十余幅。这些都成为《富春山居图》流传在世的真假画卷。

 

" Fuchun shan jutu ", a height of more than two feet long.  This picture shows the Fuchun river river with the scenery: the Fuchun river river ridge and slope stone, like the early autumn scenery, the trees are green, the density is caused by the mountain river, village, flat slope, pavilions, fishing boats, small bridges and so on.  Liu dong qichang praised, " the exhibition of three they, should be overwhelmed. ".  " there is a sense of a thousand miles away.  Such landscape painting, regardless of layout, pen and ink, or to make the use of the law, all make the viewer can not be not.  As yunnantian said, " the bald peak of the pingsha is very boundless. ".  " dong qichang also said that when he saw the painting in Chang' an, he felt" all the heart of the heart ".      In 1350, Huang gongwang sent the title of the figure to the useless master.  " Fuchun shan jutu" has the first Tibetan main, since then began it in the world more than 600 years of rough course.  At the beginning of this painting, the venerable master was " concerned with rap and rend ".  Unfortunately, he said that during the reign of Ming Xianzong during the reign of Ming Xianzong, he encountered " skillful" people.  Shen Zhou asked for an inscription on the drawing, but was lost by the son of the man.  Later this figure appeared in the city high prices for sale, the honest and honest Shen Zhou is difficult to haggle over and unable to buy, only to back a volume to comfort the emotions.  And then the hands of fanshun, to talk about, dong qichang, Wu Zhengzhi.      In the Qing dynasty, Wu's children, Yixing collector Wu Hongyu, is more precious.  Li yunnantian's " the painting of ou Xiang pavilion" records: " when the country changed," the family home was ignored, but only with the " Fuchun shan jutu" and " Zhiyong master Wen Thousand Character Classic original" flight.      At the time, in addition to the collection of " Fuchun shan jutu ", there was another" Fuchun shan jutu " survived.      When it comes to the second " Fuchun shan jutu ", it cannot be mentioned that the famous Ming dynasty calligrapher and painter Shen Zhou.  In the Ming Xianzong period, " Fuchun shan jutu" was transferred to the hands of Shen Zhou.  Since getting this treasure, Shen Zhou loves not to release the hand, hang it on the wall, repeated appreciation, copying, looking at, see point problem: there is no famous painting on the painting.      The moment of the overstepping one's bounds of the idea let Shen Zhou go to the head, he did not think that such treasure trove of treasure to hide in the most hidden place, how can be widely publicized?  If Zhang Shen Zhou handed the painting to a friend and preface and postscript, it happened.  The friend's son, see painting so well, produced evil, secretly sell the painting, but also leng said that the painting was stolen.      An accidental opportunity, Shen Zhou in the picture of the painting to see the sold " Fuchun shan jutu," excited abnormal, rushed home to raise money to buy a painting.  When he raised the money and returned to the painting, the painting had been bought and gone.  Shen Zhou beat his breast and burst into tears, but he regretted it was too late.  The Fuchun shan jutu, which has been painstakingly acquired, is now left in the memory of the mind.  Shen Zhou leng is by virtue of memory, a copy of " Fuchun shan jutu. ".      The original " Fuchun shan jutu" lost by Shen Zhou is like a stone sea, and there is no news for a long time.  Later, it appeared again, and was collected by the Ming dynasty calligrapher and calligrapher Wang dong qichang.  In his later years, dong qichang sold it to Wu Hongyu's grandfather, Wu Zhengzhi.  Wu Hongyu inherited the " Fuchun shan jutu ", this only appeared on the death of the will to burn the will, Wuzi fire in the scene of the rescue.  As the Huang gongwang's " Fuchun shan jutu" is too famous, the Ming and Qing painters are scrambling to copy, in addition to the " Fuchun shan jutu" by the Shen Zhou, now there are more than ten copies of the copy.  These are the true and false picture of the living in the Fuchun shan jutu.