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谢时臣岳阳楼图轴-明朝-山水

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 《岳阳楼图》轴,明,谢时臣绘,纸本,设色,纵248cm,横102.3cm。

  本幅自识:“岳阳楼。樗仙谢时臣写。”下钤“姑苏台下逸人”、“谢思忠氏”印2方。钤清乾隆、嘉庆内府诸藏印。

  谢时臣的《岳阳楼图》轴与元代界画大师夏永的《岳阳楼图》页一样,都以岳阳楼为创作母题,但与夏永极力求工地描绘建筑主题的繁复华丽的画风迥然不同,谢时臣笔下的岳阳楼只是一座简略概括的二层崇楼,画面的绝大部分是弥漫的云雾和浩荡的湖水。如果没有作者的题字,很难想象这省略了结构特征的建筑就是岳阳楼,而作者是否真的游历过洞庭湖上的岳阳楼也确实令人怀疑。但由于作者刻意追求和表现的是岳阳楼“衔远山,吞长江”的开阔意境和气势,因此整幅作品展现的便不仅是建筑的鬼斧神工,大自然的壮丽秀美,而更有文人画家的气度胸襟,不由得引发观者“先天下之忧而忧,后天下之乐而乐”的思古之情。由此可见明代建筑绘画在创作主旨、审美取向和表现手法上的发展变化。

 

--------Introduction in English--------

 

Yueyang Tower Map" axis, Ming, Xie Shichen drawing, paper, color, 248 cm vertical, 102.3 cm horizontal.

This self-awareness: "Yueyang Tower. Miaoxian Xie Shichen wrote. Xiajun "Gusu Taiyiren" and "Xie Sizhong's" India 2. The Tibetan Seals of Qianlong and Jiaqing Neifu in Junqing and Qing Dynasties.

The axis of Xie Shichen's Yueyang Tower Picture is the same as Xia Yong's Yueyang Tower Picture, the master of Yuan Dynasty's boundary painting. The theme of Yueyang Tower is Yueyang Tower. However, it is quite different from Xia Yong's complicated and gorgeous painting style, which strives to depict the architectural theme on the site. The Yueyang Tower in Xie Shichen's works is only a two-storey lofty building with a brief summary. The vast majority of the pictures are filled with clouds and mists and vast Without the author's inscription, it is hard to imagine that the building without structural features is Yueyang Tower, and it is doubtful whether the author has actually visited Yueyang Tower on Dongting Lake. However, because the author intentionally pursues and expresses the open mood and momentum of Yueyang Tower's "holding the distant mountains and swallowing the Yangtze River", the whole work shows not only the ingenious workmanship of architecture and the magnificent beauty of nature, but also the spirit and mind of literati painters, which can not help but trigger the viewer's thinking of the ancients feelings of "worrying before the world, happy after the world". From this we can see the development and change of architectural painting in the Ming Dynasty in the creative theme, aesthetic orientation and expression techniques.

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