胡慥,一作胡造,字石公,金陵(今江苏南京)人。生卒年不详,公元17世纪在世。工山水、人物、花卉。所作山水苍莽浑厚,人物形十嫌备。尤擅写菊,用笔雅隽,独创一格,备极神妙。说者云:菊乃冷花,经石公手,洗尽铅华,独存冰雪,堪称“真冷”。熟知金陵画家的周亮工,称画家为“石公善啖,腹便便,负大力拳勇”,“惜哉未六十而殪”。
胡慥的作品传世甚少,国内收藏且多扇面、册页。现代鉴藏大家吴湖帆在题南京博物院藏《金陵八家扇·胡慥山居观梅图》说:”胡石公糙,‘金陵八家’之一。其山水绝无仅见,斠画中九友之张尔唯(学曾)尤为罕有。此箑与樊会公颇相近,余亦未之见耳。”“乙卯(1915年)春日,见胡石公仿董巨幅于俞生子才静观楼,树石诸幅与此绝合。湖帆记。”而此轴也有吴氏的审定题识:“清初金陵龚贤、樊圻等号‘八家’,胡慥、谢荪真迹世不经见。
传世作品有顺治十年 (1653)所作《葛洪移居图》扇面;康熙二十年(1681)所作《迥岩走瀑图》轴,图录于《晋唐宋元明名画宝鉴》;《山居观梅图》册页,藏于南京博物院;《山水图》轴,藏于辽宁省博物馆;《花鸟图》藏于北京故宫博物院;《仿董巨山水》轴 美国柏克莱加州大学美术馆藏。其子胡清、胡濂均能画。
康熙中年未六十而殁,与龚贤、樊圻、邹喆、叶欣、吴宏、高岑、谢荪等为"金陵八家"。
《葛仙移居图》扇 顺治十年(1653)作,藏故宫博物院 。
《葛仙移居图》扇简介: 扇页,金笺,墨笔,纵:53厘米,横:17厘米。
从胡的题画诗中透露出他是一位志在山林的高士,如“闲身闲看白云间,更爱青山懒出山;隐坐草亭流水畔,只听钟磐落人间。”《葛洪移居图》表达了画家那种不恋浮世功利,愿做世外闲人,日与白云青山为伴的高士风格。
葛洪是道教史上著名的道士,著有《抱朴子》等著作。他出身道教世家,少时随祖葛玄的弟子郑隐学习炼丹术。后葛洪听说交趾盛产丹砂,求去作句漏令。他带全家南下广州,转而入罗浮山隐居。此扇页正是描绘葛洪携带家移居罗浮山的情景。葛洪骑牛回首做在最前面,家人妻小随后。人物衣纹作钉头鼠尾画法,比例合度,动作协调。自识[葛仙翁移居图。癸巳秋七月画为大宗老社长。胡慥]。钤[胡慥]朱文长方印。按癸巳为顺治十年,公元一六五三年。
胡慥的《葛洪移居图》也称《葛仙移居图》,纸本设色。首行自款为“葛仙翁移居图”,后两行字有剥落,末有“胡慥”名款,钤“胡”、“慥”两方朱文印,藏于故宫博物院。画面与王蒙表现的相同处在于都选择葛洪弃官后举家迁往罗浮山、行走在幽深山径中的一幕;不同点主要是王蒙让葛洪携驮书之鹿,着道袍、道冠;而胡糙改为令其骑长角青牛,且回顾妻小等随从,似在催行。葛洪初任散骑常侍,闻交趾(今越南)出丹砂,求为句漏令,过广州时,刺史邓岳挽留,不听,乃迁往罗浮山炼丹,传说“丹成尸解”(升仙)。罗浮山位于广东增城、博罗、河源等县之间,被誉为“岭南第一山”、“十大道教名山之一”,这与葛洪来此炼丹、著书有很大关系。此山以多梅著称,咏者颇多。扇面因受形制所限,不宜画王蒙那种崇山峻岭、千岩万壑的图景,只能通过截取其近景一段以展现题旨。胡慥深谙此道。他以方硬曲折之笔勾出几块突兀而起的巨石,皴擦坚实厚重,具峥嵘之态,平缓坡石附之,杂树植被掩映,点缀其间,但揖让巧妙,无喧宾夺主之感。次写行于山径中的人物:左前方为骑牛颐盼导行的主角葛洪;配角为怀抱一子、坐木轮车随行的夫人;次角则是两个雇用的“行脚工”。值得注意的是,画家把扇面的中心位置让给了载有炼丹炉的车和车夫,另一位只傍夫人作挑物状,显示出不同的重视程度。炼丹成仙是葛洪的终极目的,故让操有炼丹工具者紧跟其后,绝不允许掉队。最后以中淡墨补写掩遮幽险的山崖一角,略作必要皴染,再用淡花青泼写隐隐远山,空灵迢遥之意足矣。写山石,用笔勾皴苍劲爽健。写人物,长细短折线条兼用,以示不同身份、不同服装、不同体貌的差异:写葛洪及妻子即用细勾的高古游丝描;写车夫则用短促飞动的枯柴描。着色点到为止,多作淡染。写石兼卷云、豆瓣等皴法,写坡用淡扫披麻皴,虚实有致,后以赭石、石青淡染,重石青醒点夹叶,浓墨点苔。此作格调古朴庄重,境幽意远,情节性强,是比王蒙之作更具动感的迁行佳构,表现主题也更集中、更传神。
胡慥的这幅《山水图》是一个扇面。此画虽不大,但取式平中有起伏,构图完整,气韵生动,巧妙地利用金笺的质地描绘了乡村一隅、晚秋黄昏之际的景象:左边的山石旁,草木萧萧;坡上的老树参差错落,有的树叶已凋零;天上晚归的乌鸦一群群地飞来,有的已经落在枯枝头。画面的右边,稀疏的绿丛中走来一大一小二人,前面的是位老者,后面跟着的是童仆。读着画上:“慈乌阵黑疑云过,老木声酣认雨来”的题句,使人有如走进画境,感受到一种特有的秋韵。想那晚秋的黄昏,斜阳晚照,匆匆赶路回家的画中人已经看到熟悉的家门。望着空中成群的乌鸦黑黑一片的纷纷而落,听着秋风吹得古树叶子发出的呼呼声,仿佛感觉大雨就要来临。如此暮色凄迷、丰富变换的景象,怎能不引入发出万般感慨。作者用得当、生动的笔墨,将在特定自然环境中的细微观察和瞬间的体悟表现出来,给读者提供了一种新鲜的审美感受。这一诗画结合的佳构,更让我们看到作者的非凡功力。从画面描写的情景来看,似乎把画名取作“晚归图”更贴切些。
此画的用笔灵动丰富,前面山石以重墨勾皴结合写出,远山及近坡用淡墨铺就,房屋仅露一半;而树干则用笔劲爽,树枝勾勒有力,树叶有各种形态,有的勾成三角形,填以赭色;有的勾成扁叶状,填以淡绿色;有的干脆以深浅不一的墨色表现。这些虚虚实实地处理,构成了画面的丰富性。画家吴湖帆对此扇面评曰:“胡石公造,‘金陵八家’之一,其山水绝无仅见,觏画中九友之张尔唯尤为罕有。此笔与樊会公颇相近。余亦未之见耳。”进而指出两家的水墨互为影响,并给予较高评价。
Hu Ting's works are seldom handed down, and there are many fans and pages in domestic collection. Wu Hufan, a modern collector, said in the collection of "Eight Fans in Jinling Mountains, Hu Kuan Mei Tu" in Nanjing Museum: "Hu Shi is rough, one of the Eight Families in Jinling". Its landscape is not unique, especially Zhang Erwei (Xuezheng), the nine friends in the candel painting. This seal is quite similar to the Fan Huigong, and I haven't heard of it yet. "In the spring of Yimao (1915), Hu Shigong imitated Dong's magnificent painting and Yu Shengzi observed the building quietly. The trees and rocks coincided with this. Sailing on the lake." And this axis also has Wu's examination and recognition: "Gong Xian and Fan Ban of Jinling in the early Qing Dynasty are called"Eight Families". Hu Kuo and Xie Sun's true deeds are not seen in the world.
The works handed down from generation to generation include the fan surface of Gehong Migration Picture written in Shunzhi Decade (1653); the axis of Diaoyan Waterfall Picture written in Kangxi Decade (1681), which is recorded in Baojian of Famous Paintings of Jin, Tang, Song, Yuan and Ming Dynasties; the album page of Shanju Guanmei Picture, which is hidden in Nanjing Museum; the axis of Shanshui Picture, which is hidden in Liaoning Museum; and the flower-bird Picture, which is hidden in Beijing. Palace Museum; Imitated Dong Jushan Shui Axis, University of California, Berkeley, USA. His son Hu Qing and Hu Lian can draw.
Kangxi died in his middle age, and Gong Xian, Fan Fan, Zou Chao, Ye Xin, Wu Hong, Gao Qin and Xie Sun were the "eight families of Jinling".
"Gexian Migration Picture" Fan Shunzhi 10 years (1653), Tibetan Palace Museum.
"Gexian Immigration Picture" Fan Profile: Fan Page, Golden Note, Ink, Vertical: 53 cm, Horizontal: 17 cm.
Hu's poems on paintings reveal that he is a high scholar who aspires to the mountains and forests, such as "idly watching the white clouds, more loving the mountains and lazy out of the mountains; sitting by the grass Pavilion and flowing water, only listening to the bell and rock fall into the world." Ge Hong's Immigration Picture expresses the artist's style of a scholar who does not love the utility of the floating world and is willing to be a layman, accompanied by white clouds and green mountains.
Ge Hong is a famous Taoist priest in the history of Taoism. He wrote Baopuzi and other works. He came from a Taoist family and studied alchemy with Zheng Yin, a disciple of Gexuan. Hou Gehong heard that Jiaozhi abounds in red sand and asked to make an omission order. He took his family south to Guangzhou and went to live in seclusion in the Louvre Mountains. This page depicts the scene of Gehong's family migrating to Louvre Mountain. Gehong rode the bull back to the front, followed by his family, wife and children. The figure's clothes are painted with nail head and tail, proportionality and coordination. Self-awareness [Ge Xianweng Migration Map]. Gui Si Qiu's July painting is a large number of old president. Hu Tuo]. Zhu Wenchang's square seal. According to Disi, Shunzhi Ten Years, AD 1653.
Hu Ting's Gehong Immigration Picture is also called Gexian Immigration Picture. The first line is the "Gexian Weng Migration Map", the last two lines are stripped, and the last two lines are the "Hu Kuo" name. The two sides of Zhu Wenyin of "Hu" and "Hu" in Jun are hidden in the Palace Museum. The similarity between the picture and Wang Meng's performance lies in the fact that they chose Ge Hong to move their family to Luofu Mountain and walk along the secluded mountain path after he abandoned his official post. The main difference is that Wang Meng let Ge Hong carry the deer carrying books, wearing the robe and crown of Tao, while Hu Rou changed it to ride the longhorn green cattle, and recalled his wife and children's followers, which seems to be urging them to move. Ge Hongchu was a regular servant of Sanqi, Wen Jiaozhi (now Vietnam) produced Dansha and asked for a missing order. After Guangzhou, Shi Tangyue stayed behind and refused to listen. He moved to Luofu Mountain to refine Dandan, legendary "Dancheng decomposition" (Shengxian). Located between the counties of Zengcheng, Boluo and Heyuan in Guangdong Province, Luofu Mountain is known as "the first mountain in Lingnan" and "one of the ten famous Taoist mountains", which is closely related to Ge Honglai's alchemy here and his book writing. This mountain is famous for Dome, and there are many chanters. Because of the limitation of shape, it is not suitable to draw Wang Meng's pictures of mountains and rocks, but to show the theme by intercepting a close-range section. Hu Tuo is well versed in this way. He drew out several abrupt boulders with a hard and tortuous pen, rubbed them firmly and heavily, with an outstanding attitude, with gentle slopes and rocks attached to them, covered by miscellaneous trees and vegetation, embellishing them, but with ingenuity and no sense of domination by noisy guests. Secondly, the characters in the mountain trail: Ge Hong, the leading character in front of the left, who is eager to ride cattle; the supporting role is the lady who is holding a son and accompanying by a wooden wheeler; and the second corner is the two hired "foot-walkers". It is noteworthy that the painter gave the central position of the fan to the car and coachman carrying the alchemy stove, while the other one was just next to his wife as a pick-up, showing different degrees of attention. It is Gehong's ultimate goal to become immortal through alchemy. Therefore, those who have alchemy tools should not be allowed to leave behind. At last, we make up the corner of the dangerous cliff with medium and light ink, make some necessary dyeing, and then write the hidden remote mountain with light blue, which is meaningful enough. Write mountains and stones, with pen hook vigorous and refreshing. Characters are depicted with both long and short broken lines to show the differences of different identities, different clothes and different physiques: Ge Hong and his wife are depicted with fine hooks of ancient traveling silk; the coachman is depicted with short flying firewood. So far as the colouring point is concerned, more light colouring is needed. Writing stone and cirrus clouds, bean flaps and other chains, writing slope with light sweep covered with hemp chaff, virtual and real, after ochre, stone blue light dye, heavy stone green wake point of leaf, thick ink dot moss. This work is simple and solemn in style, far-reaching in mood and strong in plot. It is a more dynamic migration structure than Wang Meng's, and its theme is more concentrated and vivid.
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