YixuanTang
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feat: Final working dataset with local images and Parquet viewer
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- .DS_Store +0 -0
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- .idea/台北故宫文物数据集爬虫.iml +8 -0
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*.mp4 filter=lfs diff=lfs merge=lfs -text
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images/*.jpg filter=lfs diff=lfs merge=lfs -text
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data/*.parquet filter=lfs diff=lfs merge=lfs -text
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output/metadata.csv filter=lfs diff=lfs merge=lfs -text
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<module fileurl="file://$PROJECT_DIR$/.idea/台北故宫文物数据集爬虫.iml" filepath="$PROJECT_DIR$/.idea/台北故宫文物数据集爬虫.iml" />
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.idea/台北故宫文物数据集爬虫.iml
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README.md
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---
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license: other
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language:
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- zh
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- en
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pretty_name: NPM-Artifacts-zh
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tags:
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- art
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- image-captioning
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- text-to-image
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- cultural-heritage
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---
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# NPM-Artifacts-zh: 台北故宫博物院开放文物数据集
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## 数据集描述
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本项目收集并整理了来自[台北故宫博物院开放数据平台](https://digitalarchive.npm.gov.tw/opendata/)的公开文物数据。数据集包含高解析度的文物图像以及与之对应的、丰富的结构化元数据。元数据均为繁体中文，详细描述了文物的名称、年代、尺寸、材质、题跋、印记等信息。
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这个数据集旨在为研究者、开发者和文化爱好者提供一份易于访问和使用的宝贵资源，可用于计算机视觉、自然语言处理、数字人文等多个领域的研究与应用。
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## 数据集内容
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数据集主要包含以下几个部分：
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1. **`metadata.csv`**: 包含所有文物元数据总表的CSV文件。每一行对应一件文物，字段被序列化为JSON字符串。
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2. **`image_analysis.csv`**: 对已下载图片的分析结果，包含图片路径、宽度、高度和文件大小。
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3. **`data/`**: 一个存放结构化JSON文件的目录，每件文物都有一个独立的JSON文件，文件名与文物ID对应，方便单独查询。
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4. **`images/` (待上传)**: 存放所有文物图片的目录，包含主图和细节图。由于文件体积较大，将分批上传。
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### 数据字段说明 (`metadata.csv` & `data/*.json`)
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- `UniqueID`: 文物唯一ID。
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- `URL`: 原始的文物详情页链接。
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- `文物名称`: 文物的官方名称。
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- `基本資料`: 包含“品名”、“作者”、“朝代”、“格式/尺寸”等基本信息的JSON对象。
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- `典藏尺寸`: 包含“形式”、“画幅尺寸”、“裱绫尺寸”等详细尺寸信息的JSON数组。
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- `质地`: 包含“主要质地”、“次要质地”的JSON数组。
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- `题跋资料`: 包含题跋者、内容、资料来源等的JSON数组。
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- `印记资料`: 包含印记释文、资料来源等的JSON数组。
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- `主题`: 描述文物主题的关键词JSON数组 (例如：山水、花鸟、人物等)。
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- `技法`: 描述文物所用技法的关键词JSON数组 (例如：设色、水墨、描金等)。
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- `參考資料`: 参考文献列表。
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- `保存維護`: 文物的保存与维护信息。
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## 用途与任务
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本数据集可用于多种任务，包括但不限于：
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- **图像分类**: 根据文物图片对其朝代、作者或主题进行分类。
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- **图像描述生成 (Image Captioning)**: 训练模型为文物图片生成描述性文字。
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- **文本到图像生成 (Text-to-Image)**: 使用元数据中的描述文字来生成对应的文物图像。
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- **光学字符识别 (OCR)**: 对书画作品中的题跋、印记进行文字识别。
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- **数字人文研究**: 对文物的各种元数据进行量化分析和可视化。
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## 作者
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* **[huaaaxuan]** - _[https://huggingface.co/Huaaaxuan]_ | [[email protected]](mailto:[email protected]) | [GitHub](https://github.com/Huang-jia-xuan)
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* **[合作者名字/昵称]** - [合作者邮箱@example.com](mailto:合作者邮箱@example.com) | [GitHub](https://github.com/合作者GitHub用户名)
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## 授权与引用
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本数据集的内容来源于台北故宫博物院开放数据平台，遵循“**政府資料開放授權條款1.0版** (Open Government Data License, version 1.0)”。
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根据该条款，您可以自由地重制、散布、公开传输、公开发表、发行、利用本数据集，或进行各种衍伸创作，无需付费、也无需另外申请。
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**使用时请注意**:
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1. 不得恶意变更、扭曲数据内容。
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2. 应保留作者的姓名表示权（如适用）。
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3. 建议在使用时标注数据来源为“台北故宫博物院”。
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**如何引用**:
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如果您在研究中使用了本数据集，建议按以下方式引用：
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```
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本研究使用的数据集由 "NPM-Artifacts-zh" 项目收集、整理自台北故宫博物院开放数据平台 (https://digitalarchive.npm.gov.tw/opendata/)。
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```
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data/artifact_10.json
ADDED
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@@ -0,0 +1,261 @@
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|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "10",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/10?dep=P&mode=full",
|
| 4 |
+
"文物名称": "唐閻立本竹林五君圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000002N000000000",
|
| 7 |
+
"作品號": "故畫00000200000",
|
| 8 |
+
"品名": "唐閻立本竹林五君圖 軸\nThe Five Gentlemen of the Bamboo Grove",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "閻立本",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "137.2x74.3"
|
| 17 |
+
},
|
| 18 |
+
{
|
| 19 |
+
"位置": "詩塘",
|
| 20 |
+
"尺寸(公分)": "39.8x74.5"
|
| 21 |
+
}
|
| 22 |
+
],
|
| 23 |
+
"質地": [
|
| 24 |
+
{
|
| 25 |
+
"質地位置": "詩塘",
|
| 26 |
+
"質地": "紙"
|
| 27 |
+
},
|
| 28 |
+
{
|
| 29 |
+
"質地位置": "本幅",
|
| 30 |
+
"質地": "絹"
|
| 31 |
+
}
|
| 32 |
+
],
|
| 33 |
+
"題跋資料": [
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "作者款識",
|
| 36 |
+
"作者": "閻立本",
|
| 37 |
+
"位置": "本幅",
|
| 38 |
+
"款識": "閻立本畫",
|
| 39 |
+
"書體": "行書",
|
| 40 |
+
"全文": ""
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"題跋類別": "題跋",
|
| 44 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 45 |
+
"位置": "本幅",
|
| 46 |
+
"款識": "甲午（西元一七七四年）仲夏御題。",
|
| 47 |
+
"書體": "行書",
|
| 48 |
+
"全文": "在七去二詠延年。將謂剏圖惟屬錢。右相丹青忽逢此。吳興結構那饒前。執籌王氏誠牟利。啓事山公乃進賢。棄取其間非當也。精神箇裏總軒然。衣冠猶見典午代。風日應為春暮天。却看五君無酒氣。想緣深意戒賔筵。甲午（西元一七七四年）仲夏御題。",
|
| 49 |
+
"印記資料": [
|
| 50 |
+
{
|
| 51 |
+
"印主": "清高宗",
|
| 52 |
+
"印記": "會心不遠"
|
| 53 |
+
},
|
| 54 |
+
{
|
| 55 |
+
"印主": "清高宗",
|
| 56 |
+
"印記": "得佳趣"
|
| 57 |
+
}
|
| 58 |
+
]
|
| 59 |
+
},
|
| 60 |
+
{
|
| 61 |
+
"題跋類別": "題跋",
|
| 62 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 63 |
+
"位置": "詩塘",
|
| 64 |
+
"款識": "",
|
| 65 |
+
"書體": "行書",
|
| 66 |
+
"全文": "藝絕神全",
|
| 67 |
+
"印記資料": [
|
| 68 |
+
{
|
| 69 |
+
"印主": "清高宗",
|
| 70 |
+
"印記": "乾隆御筆"
|
| 71 |
+
}
|
| 72 |
+
]
|
| 73 |
+
}
|
| 74 |
+
],
|
| 75 |
+
"印記資料": [
|
| 76 |
+
{
|
| 77 |
+
"印記類別": "收傳印記",
|
| 78 |
+
"印主": "",
|
| 79 |
+
"印記": "王□□印（二字不可辨）"
|
| 80 |
+
},
|
| 81 |
+
{
|
| 82 |
+
"印記類別": "收傳印記",
|
| 83 |
+
"印主": "",
|
| 84 |
+
"印記": "王用臣家寶印"
|
| 85 |
+
},
|
| 86 |
+
{
|
| 87 |
+
"印記類別": "收傳印記",
|
| 88 |
+
"印主": "",
|
| 89 |
+
"印記": "兆□"
|
| 90 |
+
},
|
| 91 |
+
{
|
| 92 |
+
"印記類別": "收傳印記",
|
| 93 |
+
"印主": "",
|
| 94 |
+
"印記": "劉□"
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"印記類別": "收傳印記",
|
| 98 |
+
"印主": "",
|
| 99 |
+
"印記": "錫山鄒氏"
|
| 100 |
+
},
|
| 101 |
+
{
|
| 102 |
+
"印記類別": "鑑藏寶璽",
|
| 103 |
+
"印主": "清內府印",
|
| 104 |
+
"印記": "□□宮鑒藏寶（一印不識）"
|
| 105 |
+
},
|
| 106 |
+
{
|
| 107 |
+
"印記類別": "鑑藏寶璽",
|
| 108 |
+
"印主": "清高宗",
|
| 109 |
+
"印記": "八徵耄念之寶"
|
| 110 |
+
},
|
| 111 |
+
{
|
| 112 |
+
"印記類別": "鑑藏寶璽",
|
| 113 |
+
"印主": "清內府印",
|
| 114 |
+
"印記": "三希堂精鑑璽"
|
| 115 |
+
},
|
| 116 |
+
{
|
| 117 |
+
"印記類別": "鑑藏寶璽",
|
| 118 |
+
"印主": "清高宗",
|
| 119 |
+
"印記": "古希天子"
|
| 120 |
+
},
|
| 121 |
+
{
|
| 122 |
+
"印記類別": "鑑藏寶璽",
|
| 123 |
+
"印主": "清高宗",
|
| 124 |
+
"印記": "石渠定鑑"
|
| 125 |
+
},
|
| 126 |
+
{
|
| 127 |
+
"印記類別": "鑑藏寶璽",
|
| 128 |
+
"印主": "清內府印",
|
| 129 |
+
"印記": "石渠寶笈"
|
| 130 |
+
},
|
| 131 |
+
{
|
| 132 |
+
"印記類別": "鑑藏寶璽",
|
| 133 |
+
"印主": "清內府印",
|
| 134 |
+
"印記": "宜子孫"
|
| 135 |
+
},
|
| 136 |
+
{
|
| 137 |
+
"印記類別": "鑑藏寶璽",
|
| 138 |
+
"印主": "宣統帝",
|
| 139 |
+
"印記": "宣統御覽之寶"
|
| 140 |
+
},
|
| 141 |
+
{
|
| 142 |
+
"印記類別": "鑑藏寶璽",
|
| 143 |
+
"印主": "宣統帝",
|
| 144 |
+
"印記": "宣統鑑賞"
|
| 145 |
+
},
|
| 146 |
+
{
|
| 147 |
+
"印記類別": "鑑藏寶璽",
|
| 148 |
+
"印主": "清高宗",
|
| 149 |
+
"印記": "乾隆御覽之寶"
|
| 150 |
+
},
|
| 151 |
+
{
|
| 152 |
+
"印記類別": "鑑藏寶璽",
|
| 153 |
+
"印主": "清高宗",
|
| 154 |
+
"印記": "乾隆鑑賞"
|
| 155 |
+
},
|
| 156 |
+
{
|
| 157 |
+
"印記類別": "鑑藏寶璽",
|
| 158 |
+
"印主": "宣統帝",
|
| 159 |
+
"印記": "無逸齋精鑑璽"
|
| 160 |
+
},
|
| 161 |
+
{
|
| 162 |
+
"印記類別": "鑑藏寶璽",
|
| 163 |
+
"印主": "清高宗",
|
| 164 |
+
"印記": "壽"
|
| 165 |
+
},
|
| 166 |
+
{
|
| 167 |
+
"印記類別": "鑑藏寶璽",
|
| 168 |
+
"印主": "清高宗",
|
| 169 |
+
"印記": "寧壽宮續入石渠寶笈"
|
| 170 |
+
},
|
| 171 |
+
{
|
| 172 |
+
"印記類別": "鑑藏寶璽",
|
| 173 |
+
"印主": "清高宗",
|
| 174 |
+
"印記": "寶笈重編"
|
| 175 |
+
}
|
| 176 |
+
],
|
| 177 |
+
"主題": [
|
| 178 |
+
{
|
| 179 |
+
"主題類別": "主要主題",
|
| 180 |
+
"主題(第一層)": "人物",
|
| 181 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 182 |
+
"主題說明": ""
|
| 183 |
+
},
|
| 184 |
+
{
|
| 185 |
+
"主題類別": "次要主題",
|
| 186 |
+
"主題(第一層)": "樹木",
|
| 187 |
+
"主題(第二層)": "竹",
|
| 188 |
+
"主題說明": ""
|
| 189 |
+
},
|
| 190 |
+
{
|
| 191 |
+
"主題類別": "其他主題",
|
| 192 |
+
"主題(第一層)": "人物",
|
| 193 |
+
"主題(第二層)": "侍從（侍女、童僕）",
|
| 194 |
+
"主題說明": ""
|
| 195 |
+
},
|
| 196 |
+
{
|
| 197 |
+
"主題類別": "其他主題",
|
| 198 |
+
"主題(第一層)": "山水",
|
| 199 |
+
"主題(第二層)": "奇石",
|
| 200 |
+
"主題說明": ""
|
| 201 |
+
},
|
| 202 |
+
{
|
| 203 |
+
"主題類別": "其他主題",
|
| 204 |
+
"主題(第一層)": "器用",
|
| 205 |
+
"主題(第二層)": "文房用具",
|
| 206 |
+
"主題說明": ""
|
| 207 |
+
},
|
| 208 |
+
{
|
| 209 |
+
"主題類別": "其他主題",
|
| 210 |
+
"主題(第一層)": "器用",
|
| 211 |
+
"主題(第二層)": "文玩（琴棋書畫）",
|
| 212 |
+
"主題說明": ""
|
| 213 |
+
},
|
| 214 |
+
{
|
| 215 |
+
"主題類別": "其他主題",
|
| 216 |
+
"主題(第一層)": "器用",
|
| 217 |
+
"主題(第二層)": "傢俱（屏風）",
|
| 218 |
+
"主題說明": ""
|
| 219 |
+
},
|
| 220 |
+
{
|
| 221 |
+
"主題類別": "其他主題",
|
| 222 |
+
"主題(第一層)": "器用",
|
| 223 |
+
"主題(第二層)": "飲食器",
|
| 224 |
+
"主題說明": ""
|
| 225 |
+
},
|
| 226 |
+
{
|
| 227 |
+
"主題類別": "其他主題",
|
| 228 |
+
"主題(第一層)": "樹木",
|
| 229 |
+
"主題(第二層)": "",
|
| 230 |
+
"主題說明": ""
|
| 231 |
+
}
|
| 232 |
+
],
|
| 233 |
+
"技法": [
|
| 234 |
+
{
|
| 235 |
+
"技法": "工筆",
|
| 236 |
+
"技法細目": ""
|
| 237 |
+
}
|
| 238 |
+
],
|
| 239 |
+
"參考資料": {
|
| 240 |
+
"內容簡介": "閻立本（約西元七世紀），榆林盛樂（今綏遠和林格爾）人。他和他的父親閻毗，哥哥閻立德都擅長於繪畫。曾奉令描繪各邦蠻夷、職責、鹵簿、秦府十八學生、凌煙閣功臣等圖像。\r\n畫中有清高宗題討，高宗認為這幅畫是描繪「晉竹林七賢」稽康、阮籍、山濤、向秀、劉伶、阮咸、王戎，其中王戎與山濤沒有畫入圖中。左下角的竹桿上有「閻立本畫」的款字，當為後人假托之作。",
|
| 241 |
+
"Description": "Yen Li-pen was a native of Yu-lin, Sui-yuan. During the reign of T'ai-tsung (627-649), he was summoned to paint various subjects, such as tribute bearers, barbarians and scholars. He also painted the portaits of the Eighteen Scholars and the Meritorious Officials in the Ling-yen Hall. He acted as a high minister to Emperor Kao-tsung (650-684).\r\nThe seven scholars Chi K'ang, Juan Chi, Shan T'ao, Hsiang Hsiu, Liu Ling, Juan Hsien and Wang Hung often met in a bamboo grove and later became known as \"The Seven Sages of the Bamboo Grove.\" Although only five gentlemen appear in this work, the Ch’ing Emperor Ch'ien-lung (1736-1796) believed that it depicted the Seven Sages with Wang Hung and Shan T'an missing‐‐thus the modified title. On the bamboo stalk on the lower left corner appears the inscription, \"Painted by Yen Li-pen,\" which is a later interpolation.",
|
| 242 |
+
"收藏著錄": [
|
| 243 |
+
"故宮書畫錄（卷五），第三冊，頁1",
|
| 244 |
+
"石渠寶笈續編（寧壽宮），第五冊，頁2620",
|
| 245 |
+
"故宮書畫圖錄，第一冊，頁5-6"
|
| 246 |
+
]
|
| 247 |
+
},
|
| 248 |
+
"保存維護": {
|
| 249 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 250 |
+
"相關連結": [
|
| 251 |
+
{
|
| 252 |
+
"文本": "抽盤點紀錄",
|
| 253 |
+
"onclick": "Invertory('故畫000002N000000000')"
|
| 254 |
+
},
|
| 255 |
+
{
|
| 256 |
+
"文本": "修護紀錄",
|
| 257 |
+
"onclick": "Repair('故畫000002N000000000')"
|
| 258 |
+
}
|
| 259 |
+
]
|
| 260 |
+
}
|
| 261 |
+
}
|
data/artifact_1175.json
ADDED
|
@@ -0,0 +1,173 @@
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|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1175",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1175?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋崔白竹鷗圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000064N000000000",
|
| 7 |
+
"作品號": "故畫00006400000",
|
| 8 |
+
"品名": "宋崔白竹鷗圖 軸\nEgret and Bamboo",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "崔白,Cui Bo",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "101.3x49.9"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "崔白",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "崔白",
|
| 31 |
+
"書體": "楷書",
|
| 32 |
+
"全文": "崔白"
|
| 33 |
+
}
|
| 34 |
+
],
|
| 35 |
+
"印記資料": [
|
| 36 |
+
{
|
| 37 |
+
"印記類別": "收傳印記",
|
| 38 |
+
"印主": "項德棻",
|
| 39 |
+
"印記": "宛委堂印"
|
| 40 |
+
},
|
| 41 |
+
{
|
| 42 |
+
"印記類別": "收傳印記",
|
| 43 |
+
"印主": "",
|
| 44 |
+
"印記": "虎林□吏"
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"印記類別": "收傳印記",
|
| 48 |
+
"印主": "陳彥廉",
|
| 49 |
+
"印記": "春草堂圖書印"
|
| 50 |
+
},
|
| 51 |
+
{
|
| 52 |
+
"印記類別": "收傳印記",
|
| 53 |
+
"印主": "陳彥廉",
|
| 54 |
+
"印記": "陳氏彥廉"
|
| 55 |
+
},
|
| 56 |
+
{
|
| 57 |
+
"印記類別": "收傳印記",
|
| 58 |
+
"印主": "笪重光",
|
| 59 |
+
"印記": "笪重光印"
|
| 60 |
+
},
|
| 61 |
+
{
|
| 62 |
+
"印記類別": "收傳印記",
|
| 63 |
+
"印主": "",
|
| 64 |
+
"印記": "檇李□道人賞鑑圖書"
|
| 65 |
+
},
|
| 66 |
+
{
|
| 67 |
+
"印記類別": "鑑藏寶璽",
|
| 68 |
+
"印主": "清高宗",
|
| 69 |
+
"印記": "石渠寶笈"
|
| 70 |
+
},
|
| 71 |
+
{
|
| 72 |
+
"印記類別": "鑑藏寶璽",
|
| 73 |
+
"印主": "清宣統帝",
|
| 74 |
+
"印記": "宣統御覽之寶"
|
| 75 |
+
},
|
| 76 |
+
{
|
| 77 |
+
"印記類別": "鑑藏寶璽",
|
| 78 |
+
"印主": "清宣統帝",
|
| 79 |
+
"印記": "宣統鑒賞"
|
| 80 |
+
},
|
| 81 |
+
{
|
| 82 |
+
"印記類別": "鑑藏寶璽",
|
| 83 |
+
"印主": "清高宗",
|
| 84 |
+
"印記": "重華宮鑑藏璽"
|
| 85 |
+
},
|
| 86 |
+
{
|
| 87 |
+
"印記類別": "鑑藏寶璽",
|
| 88 |
+
"印主": "清高宗",
|
| 89 |
+
"印記": "乾隆御覽之寶"
|
| 90 |
+
},
|
| 91 |
+
{
|
| 92 |
+
"印記類別": "鑑藏寶璽",
|
| 93 |
+
"印主": "清宣統帝",
|
| 94 |
+
"印記": "無逸齋精鑑璽"
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"印記類別": "鑑藏寶璽",
|
| 98 |
+
"印主": "清仁宗",
|
| 99 |
+
"印記": "嘉慶御覽之寶"
|
| 100 |
+
},
|
| 101 |
+
{
|
| 102 |
+
"印記類別": "鑑藏寶璽",
|
| 103 |
+
"印主": "清高宗",
|
| 104 |
+
"印記": "樂善堂圖書記"
|
| 105 |
+
}
|
| 106 |
+
],
|
| 107 |
+
"主題": [
|
| 108 |
+
{
|
| 109 |
+
"主題類別": "主要主題",
|
| 110 |
+
"主題(第一層)": "翎毛",
|
| 111 |
+
"主題(第二層)": "鷺鷥",
|
| 112 |
+
"主題說明": ""
|
| 113 |
+
},
|
| 114 |
+
{
|
| 115 |
+
"主題類別": "主要主題",
|
| 116 |
+
"主題(第一層)": "樹木",
|
| 117 |
+
"主題(第二層)": "竹",
|
| 118 |
+
"主題說明": ""
|
| 119 |
+
},
|
| 120 |
+
{
|
| 121 |
+
"主題類別": "其他主題",
|
| 122 |
+
"主題(第一層)": "山水",
|
| 123 |
+
"主題(第二層)": "江河、湖海",
|
| 124 |
+
"主題說明": ""
|
| 125 |
+
},
|
| 126 |
+
{
|
| 127 |
+
"主題類別": "其他主題",
|
| 128 |
+
"主題(第一層)": "花草",
|
| 129 |
+
"主題(第二層)": "",
|
| 130 |
+
"主題說明": ""
|
| 131 |
+
}
|
| 132 |
+
],
|
| 133 |
+
"技法": [
|
| 134 |
+
{
|
| 135 |
+
"技法": "工筆",
|
| 136 |
+
"技法細目": ""
|
| 137 |
+
},
|
| 138 |
+
{
|
| 139 |
+
"技法": "雙鉤",
|
| 140 |
+
"技法細目": ""
|
| 141 |
+
}
|
| 142 |
+
],
|
| 143 |
+
"參考資料": {
|
| 144 |
+
"內容簡介": [
|
| 145 |
+
"本幅畫翠竹、蘆草隨風搖曳，水波也起伏盪漾，白鷺一隻立於水中，則是放低了姿勢，採逆向迎風、涉水而行的姿態，動靜之間，形成均衡畫幅的力量。幅上雖有崔白二字款，若和院藏崔白的「雙喜圖」相比較，在刻劃花鳥的情態、掌握自然環境中一剎那生動的情景，兩者的風味相類；但在用筆方面，崔白的筆墨線條，無論粗細柔勁、濃淡乾濕、起伏頓挫，都為表現物象的質感、動態，隨物變化。而在「竹鷗圖」中，畫白鷗的線條細挺，畫竹子、蘆草和坡石則是時有斷續、富有彈性的線條，與院藏宋人「翠竹翎毛」中那種起伏變化明顯，偏向於南宋風格的線條較為接近，因此本幅雖非崔白所作，但屬宋代受崔白影響的作品之一。\r\n崔白（活動於11世紀後半），字子西，濠梁（今安徽鳳陽）人。宋仁宗時（1022-1062）畫院學藝。舉凡道釋、人物、禽獸、花卉無不精絕，尤擅長���花竹、山兔、枯荷、水鳧、野雁之類。",
|
| 146 |
+
"崔白字子西，濠梁（今安徽鳳陽)人，仁宗時（西元一O二二至一O六三)畫院藝學。道釋、人物、禽獸、花卉無不精絕，尤擅花竹、山兔、枯荷、水鳧、野雁之類。\r\n 翠竹、水草隨風搖曳，水波亦起伏盪漾。白鷺則逆向涉水，低姿迎風，形成均衡畫幅之力量，益饒動態之趣。",
|
| 147 |
+
"崔白（活動於11世紀後半），字子西，濠梁（今安徽鳳陽)人。仁宗時畫院藝學。道釋、人物、禽獸、花卉無不精絕。\r\n本幅畫翠竹、水草隨風搖曳，水波亦起伏盪漾。白鷺則逆向涉水，低姿迎風，饒富動態之趣。作者以挺勁有力的筆觸鉤畫竹竿、竹葉和蘆葦，用細若游絲的線條鉤勒白鷺的輪廓，且仔細地絲出白鷺的羽毛。從畫風來看，此畫雖與崔白不類，但繪製精謹細膩，可能為南宋畫家所為。\r\n(20110913)"
|
| 148 |
+
],
|
| 149 |
+
"Description": [
|
| 150 |
+
"Cui Bo (style name Zixi), a native of Haoliang (modern Fengyang, Anhui), served as an Art Student in the Painting Academy under Emperor Renzong. He was skilled at depicting Buddhist and Taoist subjects, figures, flowers, birds, and other animals all with consummate refinement.\r\nIn this painting, water grasses flutter gently in the breeze under green bamboo as small waves rise and are lightly tossed about. A white egret wades against the flow, advancing low into the wind and making the forms come to life with energy. The artist used strong and upright brush strokes to render the bamboo stalks and leaves as well as the reeds. To outline the egret, however, he employed lines as fine as spun silk strands, which he used to delicately “weave” the feathers. Judging from the style, this painting is unrelated to Cui Bo, but the refined and delicate manner suggests it may have come from the hand of a Southern Song artist.\r\n(20110913)",
|
| 151 |
+
"Ts'ui Po, tzu Tzu-hsi, was a native of Hao-ling in Anhui province. He worked in the Imperial Academy of Painting during the reign of Emperor Jen-tsung (r. 1022- 1063), and was skilled in depicting Buddhist and Taoist subjects, figures, flowers, birds, and other small animals in light, clear color. He was especially noted for his depictions of flowers and bamboo, wild rabbits, withered lotuses, and wild ducks and geese. \r\n In this painting water grasses waver gently in the breeze under green bamboo and small waves rise to be gently tossed about. An egret wades in the water, advancing into the wind. The painting, charged with energy, conveys a vivid, lifelike impression."
|
| 152 |
+
],
|
| 153 |
+
"收藏著錄": [
|
| 154 |
+
"石渠寶笈初編（重華宮），下冊，頁802",
|
| 155 |
+
"故宮書畫錄（卷五），第三冊，頁60",
|
| 156 |
+
"故宮書畫圖錄，第一冊，頁259-260"
|
| 157 |
+
],
|
| 158 |
+
"參考書目": "1.林柏亭，〈帝國的回憶 國立故宮博物院瑰寶赴法展專輯一 — 崔白竹鷗圖〉，《故宮文物月刊》，第185期（1998年8月），頁26-27。"
|
| 159 |
+
},
|
| 160 |
+
"保存維護": {
|
| 161 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 162 |
+
"相關連結": [
|
| 163 |
+
{
|
| 164 |
+
"文本": "抽盤點紀錄",
|
| 165 |
+
"onclick": "Invertory('故畫000064N000000000')"
|
| 166 |
+
},
|
| 167 |
+
{
|
| 168 |
+
"文本": "修護紀錄",
|
| 169 |
+
"onclick": "Repair('故畫000064N000000000')"
|
| 170 |
+
}
|
| 171 |
+
]
|
| 172 |
+
}
|
| 173 |
+
}
|
data/artifact_1177.json
ADDED
|
@@ -0,0 +1,268 @@
|
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|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
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|
|
|
|
|
|
|
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|
|
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|
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|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1177",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1177?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋徽宗溪山秋色圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000066N000000000",
|
| 7 |
+
"作品號": "故畫00006600000",
|
| 8 |
+
"品名": "宋徽宗溪山秋色圖 軸\nThe Autumn Colors of Mountains and Stream",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "趙佶,徽宗(Huizong),Huizong",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "97x53"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "紙"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "題跋",
|
| 28 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "御題",
|
| 31 |
+
"書體": "行書",
|
| 32 |
+
"全文": "雨郭烟村白水環。迷離紅葉間蒼山。恍聞谷口清猿唳。艮嶽秋光想像間。御題。",
|
| 33 |
+
"印記資料": [
|
| 34 |
+
{
|
| 35 |
+
"印主": "清高宗",
|
| 36 |
+
"印記": "幾暇鑒賞之璽"
|
| 37 |
+
},
|
| 38 |
+
{
|
| 39 |
+
"印主": "清高宗",
|
| 40 |
+
"印記": "乾隆御筆"
|
| 41 |
+
}
|
| 42 |
+
]
|
| 43 |
+
},
|
| 44 |
+
{
|
| 45 |
+
"題跋類別": "作者款識",
|
| 46 |
+
"作者": "宋徽宗\n印記\nexpand_more",
|
| 47 |
+
"位置": "本幅",
|
| 48 |
+
"款識": "（押字）",
|
| 49 |
+
"書體": "",
|
| 50 |
+
"全文": "",
|
| 51 |
+
"印記資料": [
|
| 52 |
+
{
|
| 53 |
+
"印主": "趙佶",
|
| 54 |
+
"印記": "御書"
|
| 55 |
+
}
|
| 56 |
+
]
|
| 57 |
+
},
|
| 58 |
+
{
|
| 59 |
+
"題跋類別": "題籤",
|
| 60 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 61 |
+
"位置": "",
|
| 62 |
+
"款識": "",
|
| 63 |
+
"書體": "",
|
| 64 |
+
"全文": "宣和谿山秋色真跡。上上神品。",
|
| 65 |
+
"印記資料": [
|
| 66 |
+
{
|
| 67 |
+
"印主": "清高宗",
|
| 68 |
+
"印記": "天府珍藏"
|
| 69 |
+
},
|
| 70 |
+
{
|
| 71 |
+
"印主": "清高宗",
|
| 72 |
+
"印記": "乾隆宸翰"
|
| 73 |
+
}
|
| 74 |
+
]
|
| 75 |
+
}
|
| 76 |
+
],
|
| 77 |
+
"印記資料": [
|
| 78 |
+
{
|
| 79 |
+
"印記類別": "收傳印記",
|
| 80 |
+
"印主": "明官印",
|
| 81 |
+
"印記": "司印(半印)"
|
| 82 |
+
},
|
| 83 |
+
{
|
| 84 |
+
"印記類別": "收傳印記",
|
| 85 |
+
"印主": "梁清標",
|
| 86 |
+
"印記": "棠村審定"
|
| 87 |
+
},
|
| 88 |
+
{
|
| 89 |
+
"印記類別": "收傳印記",
|
| 90 |
+
"印主": "梁清標",
|
| 91 |
+
"印記": "蒼巖子梁清標玉立氏印章"
|
| 92 |
+
},
|
| 93 |
+
{
|
| 94 |
+
"印記類別": "收傳印記",
|
| 95 |
+
"印主": "梁清標",
|
| 96 |
+
"印記": "蕉林"
|
| 97 |
+
},
|
| 98 |
+
{
|
| 99 |
+
"印記類別": "鑑藏寶璽",
|
| 100 |
+
"印主": "清高宗",
|
| 101 |
+
"印記": "八徵耄念之寶"
|
| 102 |
+
},
|
| 103 |
+
{
|
| 104 |
+
"印記類別": "鑑藏寶璽",
|
| 105 |
+
"印主": "清高宗",
|
| 106 |
+
"印記": "三希堂精鑑璽"
|
| 107 |
+
},
|
| 108 |
+
{
|
| 109 |
+
"印記類別": "鑑藏寶璽",
|
| 110 |
+
"印主": "清高宗",
|
| 111 |
+
"印記": "石渠寶笈"
|
| 112 |
+
},
|
| 113 |
+
{
|
| 114 |
+
"印記類別": "鑑藏寶璽",
|
| 115 |
+
"印主": "清高宗",
|
| 116 |
+
"印記": "宜子孫"
|
| 117 |
+
},
|
| 118 |
+
{
|
| 119 |
+
"印記類別": "鑑藏寶璽",
|
| 120 |
+
"印主": "宣統帝",
|
| 121 |
+
"印記": "宣統御覽之寶"
|
| 122 |
+
},
|
| 123 |
+
{
|
| 124 |
+
"印記類別": "鑑藏寶璽",
|
| 125 |
+
"印主": "宣統帝",
|
| 126 |
+
"印記": "宣統鑑賞"
|
| 127 |
+
},
|
| 128 |
+
{
|
| 129 |
+
"印記類別": "鑑藏寶璽",
|
| 130 |
+
"印主": "清高宗",
|
| 131 |
+
"印記": "乾隆御覽之寶"
|
| 132 |
+
},
|
| 133 |
+
{
|
| 134 |
+
"印記類別": "鑑藏寶璽",
|
| 135 |
+
"印主": "清高宗",
|
| 136 |
+
"印記": "乾隆鑑賞"
|
| 137 |
+
},
|
| 138 |
+
{
|
| 139 |
+
"印記類別": "鑑藏寶璽",
|
| 140 |
+
"印主": "宣統帝",
|
| 141 |
+
"印記": "無逸齋精鑑璽"
|
| 142 |
+
},
|
| 143 |
+
{
|
| 144 |
+
"印記類別": "鑑藏寶璽",
|
| 145 |
+
"印主": "清仁宗",
|
| 146 |
+
"印記": "嘉慶御覽之寶"
|
| 147 |
+
},
|
| 148 |
+
{
|
| 149 |
+
"印記類別": "鑑藏寶璽",
|
| 150 |
+
"印主": "清高宗",
|
| 151 |
+
"印記": "養心殿鑑藏寶"
|
| 152 |
+
}
|
| 153 |
+
],
|
| 154 |
+
"主題": [
|
| 155 |
+
{
|
| 156 |
+
"主題類別": "主要主題",
|
| 157 |
+
"主題(第一層)": "山水",
|
| 158 |
+
"主題(第二層)": "秋景",
|
| 159 |
+
"主題說明": ""
|
| 160 |
+
},
|
| 161 |
+
{
|
| 162 |
+
"主題類別": "其他主題",
|
| 163 |
+
"主題(第一層)": "人物",
|
| 164 |
+
"主題(第二層)": "漁夫、船夫",
|
| 165 |
+
"主題說明": ""
|
| 166 |
+
},
|
| 167 |
+
{
|
| 168 |
+
"主題類別": "其他主題",
|
| 169 |
+
"主題(第一層)": "山水",
|
| 170 |
+
"主題(第二層)": "江河、湖海",
|
| 171 |
+
"主題說明": ""
|
| 172 |
+
},
|
| 173 |
+
{
|
| 174 |
+
"主題類別": "其他主題",
|
| 175 |
+
"主題(第一層)": "山水",
|
| 176 |
+
"主題(第二層)": "溪澗、湍泉",
|
| 177 |
+
"主題說明": ""
|
| 178 |
+
},
|
| 179 |
+
{
|
| 180 |
+
"主題類別": "其他主題",
|
| 181 |
+
"主題(第一層)": "山水",
|
| 182 |
+
"主題(第二層)": "瀑布",
|
| 183 |
+
"主題說明": ""
|
| 184 |
+
},
|
| 185 |
+
{
|
| 186 |
+
"主題類別": "其他主題",
|
| 187 |
+
"主題(第一層)": "建築",
|
| 188 |
+
"主題(第二層)": "水榭",
|
| 189 |
+
"主題說明": ""
|
| 190 |
+
},
|
| 191 |
+
{
|
| 192 |
+
"主題類別": "其他主題",
|
| 193 |
+
"主題(第一層)": "建築",
|
| 194 |
+
"主題(第二層)": "寺廟",
|
| 195 |
+
"主題說明": ""
|
| 196 |
+
},
|
| 197 |
+
{
|
| 198 |
+
"主題類別": "其他主題",
|
| 199 |
+
"主題(第一層)": "建築",
|
| 200 |
+
"主題(第二層)": "亭",
|
| 201 |
+
"主題說明": ""
|
| 202 |
+
},
|
| 203 |
+
{
|
| 204 |
+
"主題類別": "其他主題",
|
| 205 |
+
"主題(第一層)": "建築",
|
| 206 |
+
"主題(第二層)": "塔",
|
| 207 |
+
"主題說明": ""
|
| 208 |
+
},
|
| 209 |
+
{
|
| 210 |
+
"主題類別": "其他主題",
|
| 211 |
+
"主題(第一層)": "建築",
|
| 212 |
+
"主題(第二層)": "橋",
|
| 213 |
+
"主題說明": ""
|
| 214 |
+
},
|
| 215 |
+
{
|
| 216 |
+
"主題類別": "其他主題",
|
| 217 |
+
"主題(第一層)": "船",
|
| 218 |
+
"主題(第二層)": "漁船",
|
| 219 |
+
"主題說明": ""
|
| 220 |
+
},
|
| 221 |
+
{
|
| 222 |
+
"主題類別": "其他主題",
|
| 223 |
+
"主題(第一層)": "樹木",
|
| 224 |
+
"主題(第二層)": "",
|
| 225 |
+
"主題說明": ""
|
| 226 |
+
}
|
| 227 |
+
],
|
| 228 |
+
"技法": [
|
| 229 |
+
{
|
| 230 |
+
"技法": "工筆",
|
| 231 |
+
"技法細目": ""
|
| 232 |
+
},
|
| 233 |
+
{
|
| 234 |
+
"技法": "皴法",
|
| 235 |
+
"技法細目": ""
|
| 236 |
+
}
|
| 237 |
+
],
|
| 238 |
+
"參考資料": {
|
| 239 |
+
"收藏著錄": [
|
| 240 |
+
"石渠寶笈初編（養心殿），上冊，頁641",
|
| 241 |
+
"故宮書畫錄（卷五），第三冊，頁64",
|
| 242 |
+
"故宮書畫圖錄，第一冊，頁295-296"
|
| 243 |
+
],
|
| 244 |
+
"參考書目": [
|
| 245 |
+
"1.林莉娜，〈宋徽宗谿山秋色〉，收入林莉娜編，《秋景山水畫特展圖錄》（臺北：國立故宮博物院，1989年十月初版），頁65-66。",
|
| 246 |
+
"劉芳如，〈宋徽宗溪山秋色圖 軸〉，收入《國寶的形成-書畫菁華特展》（臺北：國立故宮博物院，2017.10），頁88-91、307。",
|
| 247 |
+
"童文娥，〈宋徽宗溪山秋色圖 軸〉，收入劉芳如主編《遺珠-大阪市立美術館珍藏書畫》（臺北：國立故宮博物院，2021.08），頁90-91、271。"
|
| 248 |
+
],
|
| 249 |
+
"網頁展示說明": [
|
| 250 |
+
"徽宗趙佶（1082–1135），北宋第八位皇帝，擅長花鳥畫，亦能詩善書，並稱三絕。任內改革畫院，編輯〈宣和書譜〉、〈宣和畫譜〉、〈宣和博古錄〉等書，開創藏品著錄之例。\r\n畫中崇山疊嶂、沙坡群樹出現在畫幅的左上側，山石輪廓渾圓，水墨淡染其間，綴以煙靄野水，再現山水於抒情詩意的氛圍中。雖畫上鈐有徽宗的花押及「御書」印記，然從畫風看，此作成畫時間約在南宋時期。\r\n(20120714)",
|
| 251 |
+
"Huizong, the eighth emperor of the Northern Song, specialized in painting (bird-and-flower subjects in particular) and also was gifted at poetry and calligraphy, together known as the Three Perfections. In his reign, he reformed the Painting Academy, and three catalogues were compiled for the imperial collection of painting, calligraphy, and antiquities, setting a precedent for later records of such. \r\nIn this work, lofty mountains rise in the left background with shoals and trees in front. The outlines of the peaks are rounded with mists and waters appearing here and there among light ink washes, creating a lyrical atmosphere in the landscape. Though this work features a Huizong cipher and his \"Imperial calligraphy\" seal, the style suggests it was done sometime in the Southern Song.\r\n(20120714)",
|
| 252 |
+
"徽宗趙佶（1082－1135）、北宋第八代皇帝。花鳥畫が得意で詩文も書もよくし、「三絕」と稱された。在位中に畫院の改革を行い、『宣和書譜』『宣和畫譜』、『宣和博古錄』などの書籍を編集した。この三冊が所蔵品目錄の先駆となった。\r\n連なり重なる高山や樹木、川岸が畫面左上に描かれている。山石の輪郭には丸みがあり、淡い水墨の間にかすみたなびく風景が描写され、抒情的な詩意が漂う中に山水の眺めが再現されている。畫上には徽宗帝の花押印のほか、「御書」という印も見られるが、畫風から判断すると南宋時代頃に描かれた作品である。\r\n(20120714)"
|
| 253 |
+
]
|
| 254 |
+
},
|
| 255 |
+
"保存維護": {
|
| 256 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 257 |
+
"相關連結": [
|
| 258 |
+
{
|
| 259 |
+
"文本": "抽盤點紀錄",
|
| 260 |
+
"onclick": "Invertory('故畫000066N000000000')"
|
| 261 |
+
},
|
| 262 |
+
{
|
| 263 |
+
"文本": "修護紀錄",
|
| 264 |
+
"onclick": "Repair('故畫000066N000000000')"
|
| 265 |
+
}
|
| 266 |
+
]
|
| 267 |
+
}
|
| 268 |
+
}
|
data/artifact_1183.json
ADDED
|
@@ -0,0 +1,152 @@
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|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1183",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1183?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋徽宗蠟梅山禽 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000068N000000000",
|
| 7 |
+
"作品號": "故畫00006800000",
|
| 8 |
+
"品名": "宋徽宗蠟梅山禽 軸\nChimonanthus and Birds",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "宋徽宗,Huizong",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "83.3x53.3"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "宋徽宗\n印記\nexpand_more",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "山禽矜逸態。梅粉弄輕柔。已有丹青約。千秋指白頭。宣和殿御製。并書。（下有御押）。",
|
| 31 |
+
"書體": "楷書",
|
| 32 |
+
"全文": "",
|
| 33 |
+
"印記資料": [
|
| 34 |
+
{
|
| 35 |
+
"印主": "宋徽宗",
|
| 36 |
+
"印記": "御書"
|
| 37 |
+
}
|
| 38 |
+
]
|
| 39 |
+
}
|
| 40 |
+
],
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "收傳印記",
|
| 44 |
+
"印主": "圖帖睦爾",
|
| 45 |
+
"印記": "天曆之寶"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "收傳印記",
|
| 49 |
+
"印主": "圖帖睦爾",
|
| 50 |
+
"印記": "奎章閣寶"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "收傳印記",
|
| 54 |
+
"印主": "梁清標",
|
| 55 |
+
"印記": "梁清標印"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "收傳印記",
|
| 59 |
+
"印主": "梁清標",
|
| 60 |
+
"印記": "蕉林"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "收傳印記",
|
| 64 |
+
"印主": "梁清標",
|
| 65 |
+
"印記": "蕉林收藏"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "鑑藏寶璽",
|
| 69 |
+
"印主": "清高宗",
|
| 70 |
+
"印記": "石渠寶笈"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "鑑藏寶璽",
|
| 74 |
+
"印主": "宣統帝",
|
| 75 |
+
"印記": "宣統御覽之寶"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "鑑藏寶璽",
|
| 79 |
+
"印主": "清高宗",
|
| 80 |
+
"印記": "乾隆御覽之寶"
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"印記類別": "鑑藏寶璽",
|
| 84 |
+
"印主": "清仁宗",
|
| 85 |
+
"印記": "嘉慶御覽之寶"
|
| 86 |
+
}
|
| 87 |
+
],
|
| 88 |
+
"主題": [
|
| 89 |
+
{
|
| 90 |
+
"主題類別": "主要主題",
|
| 91 |
+
"主題(第一層)": "花草",
|
| 92 |
+
"主題(第二層)": "",
|
| 93 |
+
"主題說明": "山礬"
|
| 94 |
+
},
|
| 95 |
+
{
|
| 96 |
+
"主題類別": "主要主題",
|
| 97 |
+
"主題(第一層)": "花草",
|
| 98 |
+
"主題(第二層)": "梅（白．紅．蠟梅）",
|
| 99 |
+
"主題說明": "蠟梅"
|
| 100 |
+
},
|
| 101 |
+
{
|
| 102 |
+
"主題類別": "主要主題",
|
| 103 |
+
"主題(第一層)": "翎毛",
|
| 104 |
+
"主題(第二層)": "白頭翁",
|
| 105 |
+
"主題說明": ""
|
| 106 |
+
},
|
| 107 |
+
{
|
| 108 |
+
"主題類別": "其他主題",
|
| 109 |
+
"主題(第一層)": "草蟲",
|
| 110 |
+
"主題(第二層)": "蜂",
|
| 111 |
+
"主題說明": ""
|
| 112 |
+
}
|
| 113 |
+
],
|
| 114 |
+
"技法": {},
|
| 115 |
+
"參考資料": {
|
| 116 |
+
"內容簡介": [
|
| 117 |
+
"宋徽宗（1082－1135），姓趙名佶。擅長書畫，也好收藏歷代作品，遂使內府珍藏的名蹟，百倍於前朝。 本幅梅枝上棲息白頭翁二隻，其間胡蜂飛繞，下有山礬二株，並以「瘦金書」書寫款題。構圖簡潔，用筆秀瘦而內含勁力，表現冬日的清疏氣氛。對實物的仔細觀察，使線條隨物形而變化，再加上作者經心的構想，以梅幹的Ｓ型走向來展現韻律感，表達出一份超越自然實景的理想化美感。(20061206)",
|
| 118 |
+
"徽宗（西元1082-1135年），名佶。性好書畫，不但擅長花鳥、山水、人物，也喜好收藏法書名畫，遂使內府珍藏的名蹟，百倍於前朝。\r\n本幅描繪兩隻白頭棲息梅枝上，花枝間則有隻黃蜂來回飛繞。用筆秀瘦而內含勁力，極富精勁清雅的風韻。畫中的題字，即徽宗有名之「瘦金書」。"
|
| 119 |
+
],
|
| 120 |
+
"Description": [
|
| 121 |
+
"Hui-tsung, whose given name was Chi, ascended to the throne in 1102. He enjoyed both painting and calligraphy, and not only excelled at bird and flower, landscape and figure painting, but was also an enthusiastic collector of calligraphy and paintings. His collection was much larger and more impressive than those of his predecessors.\r\nThis painting depicts a pair of bulbuls perched on a branch of chimonanthus fragrans in bloom, a wasp flying amid the branches, and a rue plant underneath. The strokes of the brush is beautifully slender, yet full of strength. The flavor of the brushwork is very rich, refined and strong, pure and elegant. This work also possess an inscription in the famous “slender gold” calligraphic style of Hui-tsung.",
|
| 122 |
+
"The Sung dynasty emperor Hui-tsung also had the common name Chao Chi. Excelling at painting and calligraphy, he was also an astute collector of works of art, gradually amassing a collection of precious masterpieces at the court that far exceeded the scope and quality of those of previous dynasties. This work shows a pair of Chinese bulbuls perched on the branch of a plum tree in blossom with a wasp flying about. Below are two stalks of blossoming sweetleaf sprouting up from below, and to the left is a poem and the right a signature, both done in Hui-tsung’s distinctive “slender gold script”. The composition is simple yet extremely effective, and the brushwork is elegantly precise yet very strong, expressing the pure and crisp atmosphere of a cold winter’s day. With regards to the detailed observation of the physical forms, lines and strokes closely follow and change with variations in the shapes and textures. In addition, the attention of the artist in composing the scene is reflected in the “S”-shape of the trunk of the plum tree that rhythmically expands into the upper portion of the scroll to express the idealized beauty of a supra-natural scene.(20061206)"
|
| 123 |
+
],
|
| 124 |
+
"網頁展示說明": [
|
| 125 |
+
"宋徽宗趙佶（1082－1135），是一位詩、書、畫三絕的藝術家皇帝，建立完備畫院制度，以詩句為畫題選取人才，重視對實物的觀察，這種結合詩畫和寫生的繪畫觀念，對中國繪畫的發展深具影響力。\r\n此幅可能即《宋中興館閣儲藏圖畫記》中徽宗八扇屏之一的〈香梅山白頭〉，兼具詩情畫意，精練筆墨表現景物特性，構圖簡潔，設計Ｓ型弧線，在寫生之外，又著意營造具造型美感和冬日清疏氣氛的理想境界。\r\n(20110913)",
|
| 126 |
+
"Huizong, given name Zhao Ji, was an artistic emperor gifted at the “Three Perfections” of poetry, calligraphy, and painting. He established a Painting Academy for the complete study of painting at the court, using lines of poetry for painting subjects to recruit and select artists of talent. He also paid attention to observing things as they appear in nature. This combination of painting theories fusing painting and calligraphy as well as “sketching from life” had a deep and lasting influence on the development of Chinese painting.\r\n\tThis work may have been one of eight screen paintings by Huizong mentioned in Record of Paintings Stored in the Revival Halls of the Song, “Fragrant Plum Blossoms and Wild Bulbul.” With its lyrical and painterly manner, the refined use of brush and ink expresses the characteristics of the scenery, and the composition is succinct and designed into an “S”-shaped arc. In addition to “sketching from life,” great pain was taken to create aesthetic forms and an idealized realm of the pure and crisp atmosphere on a winter’s day.\r\n(20110913)"
|
| 127 |
+
],
|
| 128 |
+
"參考書目": [
|
| 129 |
+
"陳韻如，〈宋徽宗蠟梅山禽 軸〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁78-79、265。",
|
| 130 |
+
"國立故宮博物院編輯委員會，〈宋徽宗蠟梅山禽 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁86-87。",
|
| 131 |
+
"1.譚怡令，〈宋徽宗蠟梅山禽〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁86-87。\r\n2.譚怡令，〈宋徽宗蠟梅山禽 軸〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁194-197。\r\n3.李霖燦，〈從臘梅山禽談起—故宮讀畫箚記〉，《故宮文物月刊》，第9期（1983年12月），頁50-56 。\r\n4.譚怡令，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁24。\r\n5.譚怡令，〈宋徽宗臘梅山禽〉，《故宮文物月刊》，第100期（1991年7月），頁73。\r\n6.譚怡令，〈真實與理想的調色盤〉，《故宮文物月刊》，第285期（2006年12月），頁4-10。\r\n7.譚怡令，〈宋徽宗蠟梅山禽〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁266。"
|
| 132 |
+
],
|
| 133 |
+
"收藏著錄": [
|
| 134 |
+
"石渠寶笈三編（延春閣），第三冊，頁1371",
|
| 135 |
+
"故宮書畫錄（卷五），第三冊，頁66",
|
| 136 |
+
"故宮書畫圖錄，第一冊，頁301-302"
|
| 137 |
+
]
|
| 138 |
+
},
|
| 139 |
+
"保存維護": {
|
| 140 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 141 |
+
"相關連結": [
|
| 142 |
+
{
|
| 143 |
+
"文本": "抽盤點紀錄",
|
| 144 |
+
"onclick": "Invertory('故畫000068N000000000')"
|
| 145 |
+
},
|
| 146 |
+
{
|
| 147 |
+
"文本": "修護紀錄",
|
| 148 |
+
"onclick": "Repair('故畫000068N000000000')"
|
| 149 |
+
}
|
| 150 |
+
]
|
| 151 |
+
}
|
| 152 |
+
}
|
data/artifact_1185.json
ADDED
|
@@ -0,0 +1,208 @@
|
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|
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|
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|
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|
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|
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|
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|
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|
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|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1185",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1185?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋晁補之老子騎牛圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000071N000000000",
|
| 7 |
+
"作品號": "故畫00007100000",
|
| 8 |
+
"品名": "宋晁補之老子騎牛圖 軸\nLaozi Riding an Ox",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "晁補之,Zhao Buzhi",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "50.6x20.4"
|
| 17 |
+
},
|
| 18 |
+
{
|
| 19 |
+
"位置": "詩塘",
|
| 20 |
+
"尺寸(公分)": "29x20.5"
|
| 21 |
+
}
|
| 22 |
+
],
|
| 23 |
+
"質地": [
|
| 24 |
+
{
|
| 25 |
+
"質地位置": "本幅",
|
| 26 |
+
"質地": "紙"
|
| 27 |
+
},
|
| 28 |
+
{
|
| 29 |
+
"質地位置": "詩塘",
|
| 30 |
+
"質地": "紙"
|
| 31 |
+
}
|
| 32 |
+
],
|
| 33 |
+
"題跋資料": [
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "作者款識",
|
| 36 |
+
"作者": "晁補之\n印記\nexpand_more",
|
| 37 |
+
"位置": "本幅",
|
| 38 |
+
"款識": "晁无咎寫",
|
| 39 |
+
"書體": "行書",
|
| 40 |
+
"全文": "晁无咎寫",
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印主": "晁補之",
|
| 44 |
+
"印記": "雲屏煙障吾廬"
|
| 45 |
+
}
|
| 46 |
+
]
|
| 47 |
+
},
|
| 48 |
+
{
|
| 49 |
+
"題跋類別": "題跋",
|
| 50 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 51 |
+
"位置": "本幅",
|
| 52 |
+
"款識": "御題",
|
| 53 |
+
"書體": "行書",
|
| 54 |
+
"全文": "黃髮番番背已台。禹餘暫下九琳臺。五千不是閒拋置。為付關門令尹迴。御題。",
|
| 55 |
+
"印記資料": [
|
| 56 |
+
{
|
| 57 |
+
"印主": "清高宗",
|
| 58 |
+
"印記": "會心不遠"
|
| 59 |
+
},
|
| 60 |
+
{
|
| 61 |
+
"印主": "清高宗",
|
| 62 |
+
"印記": "德充符"
|
| 63 |
+
}
|
| 64 |
+
]
|
| 65 |
+
},
|
| 66 |
+
{
|
| 67 |
+
"題跋類別": "題跋",
|
| 68 |
+
"作者": "王詵\n印記\nexpand_more",
|
| 69 |
+
"位置": "詩塘",
|
| 70 |
+
"款識": "晉卿",
|
| 71 |
+
"書體": "草書",
|
| 72 |
+
"全文": "瞬瞬西由。打失心修。爾我誰道。騎牛覓牛。君可養慎。子也方收。立脊吐眼。膽直魂勾。木雞牝迸。灑樂心謳。我我無我。歷歷悠悠。晉卿。",
|
| 73 |
+
"印記資料": [
|
| 74 |
+
{
|
| 75 |
+
"印主": "王詵",
|
| 76 |
+
"印記": "洗硯魚吞墨烹茶鶴避烟"
|
| 77 |
+
},
|
| 78 |
+
{
|
| 79 |
+
"印主": "王詵",
|
| 80 |
+
"印記": "隴西□"
|
| 81 |
+
}
|
| 82 |
+
]
|
| 83 |
+
}
|
| 84 |
+
],
|
| 85 |
+
"印記資料": [
|
| 86 |
+
{
|
| 87 |
+
"印記類別": "收傳印記",
|
| 88 |
+
"印主": "",
|
| 89 |
+
"印記": "有明文靖世家圖書"
|
| 90 |
+
},
|
| 91 |
+
{
|
| 92 |
+
"印記類別": "鑑藏寶璽",
|
| 93 |
+
"印主": "清高宗",
|
| 94 |
+
"印記": "三希堂精鑑璽"
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"印記類別": "鑑藏寶璽",
|
| 98 |
+
"印主": "清高宗",
|
| 99 |
+
"印記": "太上皇帝"
|
| 100 |
+
},
|
| 101 |
+
{
|
| 102 |
+
"印記類別": "鑑藏寶璽",
|
| 103 |
+
"印主": "清高宗",
|
| 104 |
+
"印記": "宜子孫"
|
| 105 |
+
},
|
| 106 |
+
{
|
| 107 |
+
"印記類別": "鑑藏寶璽",
|
| 108 |
+
"印主": "宣統帝",
|
| 109 |
+
"印記": "宣統御覽之寶"
|
| 110 |
+
},
|
| 111 |
+
{
|
| 112 |
+
"印記類別": "鑑藏寶璽",
|
| 113 |
+
"印主": "宣統帝",
|
| 114 |
+
"印記": "宣統鑑賞"
|
| 115 |
+
},
|
| 116 |
+
{
|
| 117 |
+
"印記類別": "鑑藏寶璽",
|
| 118 |
+
"印主": "清高宗",
|
| 119 |
+
"印記": "珠林重定"
|
| 120 |
+
},
|
| 121 |
+
{
|
| 122 |
+
"印記類別": "鑑藏寶璽",
|
| 123 |
+
"印主": "清高宗",
|
| 124 |
+
"印記": "秘殿珠林"
|
| 125 |
+
},
|
| 126 |
+
{
|
| 127 |
+
"印記類別": "鑑藏寶璽",
|
| 128 |
+
"印主": "清高宗",
|
| 129 |
+
"印記": "秘殿新編"
|
| 130 |
+
},
|
| 131 |
+
{
|
| 132 |
+
"印記類別": "鑑藏寶璽",
|
| 133 |
+
"印主": "清高宗",
|
| 134 |
+
"印記": "乾清宮鑑藏寶"
|
| 135 |
+
},
|
| 136 |
+
{
|
| 137 |
+
"印記類別": "鑑藏寶璽",
|
| 138 |
+
"印主": "清高宗",
|
| 139 |
+
"印記": "乾隆御覽之寶"
|
| 140 |
+
},
|
| 141 |
+
{
|
| 142 |
+
"印記類別": "鑑藏寶璽",
|
| 143 |
+
"印主": "清高宗",
|
| 144 |
+
"印記": "乾隆鑑賞"
|
| 145 |
+
},
|
| 146 |
+
{
|
| 147 |
+
"印記類別": "鑑藏寶璽",
|
| 148 |
+
"印主": "宣統帝",
|
| 149 |
+
"印記": "無逸齋精鑒璽"
|
| 150 |
+
},
|
| 151 |
+
{
|
| 152 |
+
"印記類別": "鑑藏寶璽",
|
| 153 |
+
"印主": "清仁宗",
|
| 154 |
+
"印記": "嘉慶御覽之寶"
|
| 155 |
+
}
|
| 156 |
+
],
|
| 157 |
+
"主題": [
|
| 158 |
+
{
|
| 159 |
+
"主題類別": "主要主題",
|
| 160 |
+
"主題(第一層)": "人物",
|
| 161 |
+
"主題(第二層)": "聖賢",
|
| 162 |
+
"主題說明": "老子"
|
| 163 |
+
},
|
| 164 |
+
{
|
| 165 |
+
"主題類別": "其他主題",
|
| 166 |
+
"主題(第一層)": "走獸",
|
| 167 |
+
"主題(第二層)": "牛",
|
| 168 |
+
"主題說明": ""
|
| 169 |
+
},
|
| 170 |
+
{
|
| 171 |
+
"主題類別": "其他主題",
|
| 172 |
+
"主題(第一層)": "經史‧故事",
|
| 173 |
+
"主題(第二層)": "",
|
| 174 |
+
"主題說明": "老子騎牛"
|
| 175 |
+
},
|
| 176 |
+
{
|
| 177 |
+
"主題類別": "其他主題",
|
| 178 |
+
"主題(第一層)": "樹木",
|
| 179 |
+
"主題(第二層)": "",
|
| 180 |
+
"主題說明": ""
|
| 181 |
+
}
|
| 182 |
+
],
|
| 183 |
+
"技法": {},
|
| 184 |
+
"參考資料": {
|
| 185 |
+
"收藏著錄": [
|
| 186 |
+
"秘殿珠林續編 （乾清宮），第一冊，頁229",
|
| 187 |
+
"故宮書畫錄（卷五），第三冊，頁68",
|
| 188 |
+
"故宮書畫圖錄，第一冊，頁315-316"
|
| 189 |
+
],
|
| 190 |
+
"參考書目": [
|
| 191 |
+
"1.王耀庭，〈宋晁補之老子騎牛圖〉，收入王耀庭、童文娥編，《長生的世界：道教繪畫特展圖錄》（臺北：國立故宮博物院，1996年初版），頁66。\r\n2.本社，〈宋晁補之老子騎牛圖〉，《故宮文物月刊》，第23期（1985年2月），封底裡。",
|
| 192 |
+
"邱士華，〈宋晁補之老子騎牛圖 軸〉，收入邱士華主編《行篋隨行-乾隆南巡行李箱中的書畫》（臺北：國立故宮博物院，2017.03），頁34-37。"
|
| 193 |
+
]
|
| 194 |
+
},
|
| 195 |
+
"保存維護": {
|
| 196 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 197 |
+
"相關連結": [
|
| 198 |
+
{
|
| 199 |
+
"文本": "抽盤點紀錄",
|
| 200 |
+
"onclick": "Invertory('故畫000071N000000000')"
|
| 201 |
+
},
|
| 202 |
+
{
|
| 203 |
+
"文本": "修護紀錄",
|
| 204 |
+
"onclick": "Repair('故畫000071N000000000')"
|
| 205 |
+
}
|
| 206 |
+
]
|
| 207 |
+
}
|
| 208 |
+
}
|
data/artifact_1198.json
ADDED
|
@@ -0,0 +1,175 @@
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
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|
|
|
|
|
|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
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|
|
|
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|
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|
|
|
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|
|
|
|
|
|
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|
|
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|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1198",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1198?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋李成寒林圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000034N000000000",
|
| 7 |
+
"作品號": "故畫00003400000",
|
| 8 |
+
"品名": "宋李成寒林圖 軸\nWintry Forests",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "李成,Li Cheng",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "180x104"
|
| 17 |
+
},
|
| 18 |
+
{
|
| 19 |
+
"位置": "上方褾綾",
|
| 20 |
+
"尺寸(公分)": "13.4x104.1"
|
| 21 |
+
}
|
| 22 |
+
],
|
| 23 |
+
"質地": [
|
| 24 |
+
{
|
| 25 |
+
"質地位置": "本幅",
|
| 26 |
+
"質地": "絹"
|
| 27 |
+
},
|
| 28 |
+
{
|
| 29 |
+
"質地位置": "上方褾綾",
|
| 30 |
+
"質地": "綾"
|
| 31 |
+
}
|
| 32 |
+
],
|
| 33 |
+
"題跋資料": [
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "題跋",
|
| 36 |
+
"作者": "清高宗",
|
| 37 |
+
"位置": "本幅",
|
| 38 |
+
"款識": "戊子（西元一七六八年）仲秋月御題",
|
| 39 |
+
"書體": "",
|
| 40 |
+
"全文": "樹為經霜淡。泉因潄石寒。望而饒冷意。足以契澄觀。那藉丹青絢。猶看柯榦攢。大家真别調。秋氣滿林端。戊子（西元一七六八年）仲秋月御題。"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"題跋類別": "題跋",
|
| 44 |
+
"作者": "王鐸",
|
| 45 |
+
"位置": "上方褾綾",
|
| 46 |
+
"款識": "己丑二月廿八日。無咎觀識。王鐸。",
|
| 47 |
+
"書體": "",
|
| 48 |
+
"全文": "李成寒林圖。琅華館藏。乙酉識。孟津王鐸家珍。"
|
| 49 |
+
},
|
| 50 |
+
{
|
| 51 |
+
"題跋類別": "題跋",
|
| 52 |
+
"作者": "王鐸\n印記\nexpand_more",
|
| 53 |
+
"位置": "上方褾綾",
|
| 54 |
+
"款識": "王鐸",
|
| 55 |
+
"書體": "",
|
| 56 |
+
"全文": "古雅天成。繩式後代。己丑二月廿八日。無咎觀識。王鐸。",
|
| 57 |
+
"印記資料": [
|
| 58 |
+
{
|
| 59 |
+
"印主": "王鐸",
|
| 60 |
+
"印記": "王鐸之印"
|
| 61 |
+
}
|
| 62 |
+
]
|
| 63 |
+
}
|
| 64 |
+
],
|
| 65 |
+
"印記資料": [
|
| 66 |
+
{
|
| 67 |
+
"印記類別": "鑑藏寶璽",
|
| 68 |
+
"印主": "清高宗",
|
| 69 |
+
"印記": "三希堂精鑑璽"
|
| 70 |
+
},
|
| 71 |
+
{
|
| 72 |
+
"印記類別": "鑑藏寶璽",
|
| 73 |
+
"印主": "清高宗",
|
| 74 |
+
"印記": "石渠定鑑"
|
| 75 |
+
},
|
| 76 |
+
{
|
| 77 |
+
"印記類別": "鑑藏寶璽",
|
| 78 |
+
"印主": "清高宗",
|
| 79 |
+
"印記": "石渠寶笈"
|
| 80 |
+
},
|
| 81 |
+
{
|
| 82 |
+
"印記類別": "鑑藏寶璽",
|
| 83 |
+
"印主": "清高宗",
|
| 84 |
+
"印記": "宜子孫"
|
| 85 |
+
},
|
| 86 |
+
{
|
| 87 |
+
"印記類別": "鑑藏寶璽",
|
| 88 |
+
"印主": "宣統帝",
|
| 89 |
+
"印記": "宣統御覽之寶"
|
| 90 |
+
},
|
| 91 |
+
{
|
| 92 |
+
"印記類別": "鑑藏寶璽",
|
| 93 |
+
"印主": "宣統帝",
|
| 94 |
+
"印記": "宣統鑑賞"
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"印記類別": "鑑藏寶璽",
|
| 98 |
+
"印主": "清高宗",
|
| 99 |
+
"印記": "乾隆御覽之寶"
|
| 100 |
+
},
|
| 101 |
+
{
|
| 102 |
+
"印記類別": "鑑藏寶璽",
|
| 103 |
+
"印主": "清高宗",
|
| 104 |
+
"印記": "乾隆鑑賞"
|
| 105 |
+
},
|
| 106 |
+
{
|
| 107 |
+
"印記類別": "鑑藏寶璽",
|
| 108 |
+
"印主": "宣統帝",
|
| 109 |
+
"印記": "無逸齋精鑒璽"
|
| 110 |
+
},
|
| 111 |
+
{
|
| 112 |
+
"印記類別": "鑑藏寶璽",
|
| 113 |
+
"印主": "清高宗",
|
| 114 |
+
"印記": "寧壽宮鑑藏寶"
|
| 115 |
+
},
|
| 116 |
+
{
|
| 117 |
+
"印記類別": "鑑藏寶璽",
|
| 118 |
+
"印主": "清高宗",
|
| 119 |
+
"印記": "樂壽堂鑒藏寶"
|
| 120 |
+
},
|
| 121 |
+
{
|
| 122 |
+
"印記類別": "鑑藏寶璽",
|
| 123 |
+
"印主": "清高宗",
|
| 124 |
+
"印記": "寶笈重編"
|
| 125 |
+
}
|
| 126 |
+
],
|
| 127 |
+
"主題": [
|
| 128 |
+
{
|
| 129 |
+
"主題類別": "主要主題",
|
| 130 |
+
"主題(第一層)": "樹木",
|
| 131 |
+
"主題(第二層)": "寒林．枯樹",
|
| 132 |
+
"主題說明": "寒林"
|
| 133 |
+
},
|
| 134 |
+
{
|
| 135 |
+
"主題類別": "次要主題",
|
| 136 |
+
"主題(第一層)": "山水",
|
| 137 |
+
"主題(第二層)": "溪澗、湍泉",
|
| 138 |
+
"主題說明": ""
|
| 139 |
+
},
|
| 140 |
+
{
|
| 141 |
+
"主題類別": "其他主題",
|
| 142 |
+
"主題(第一層)": "山水",
|
| 143 |
+
"主題(第二層)": "冬景（雪景）",
|
| 144 |
+
"主題說明": ""
|
| 145 |
+
}
|
| 146 |
+
],
|
| 147 |
+
"技法": {},
|
| 148 |
+
"參考資料": {
|
| 149 |
+
"內容簡介": "叢林中溪水彎流，與石相激，濺起點點浪花，兩旁林木高聳，雲煙穿繞其間。全幅畫樹用筆強勁，樹枝如龍蛇朝四面伸張，乃李郭山水最有特色的蟹爪樹法，極富有姿勢變化之美。以畫法論，本幅可能是十二世紀北方金人學李郭風格的作品。\r\n 李成（西元916—967），字咸熙，唐皇室的後裔，系出長安，五代徙居山東營丘，畫平遠山水煙林清曠，墨法精純。",
|
| 150 |
+
"Description": "Through a forest winds a quickly flowing stream that dashes and splashes against the rocks. Tall trees appear on either side, and bands of mist float among the tree tops. The brushwork in the trees is particularly strong and energetic-the branches looking like twisting dragon claws, similar to the distinctive crab-claw style of painting trees in the Li Ch’eng and Kuo Hsi tradition. In terms of style, this may be a work by a northern Chin dynasty artist of the 12th century following the Li-Kuo tradition. \r\n\tLi Ch’eng, a descendant of the T’ang imperial family , specialized in painting flat-distance , misty landscapes of water and trees suggested by washes of ink.",
|
| 151 |
+
"網頁展示說明": [
|
| 152 |
+
"李成（916？967）字咸熙，唐皇室的後裔，系出長安，五代徙居山東營丘，因此又稱為李營丘。性情豪邁，放蕩不羈，喜好飲酒，博涉經史。據《圖畫見聞誌》的記載，李成「善畫山水寒林，化精靈，絕人遠甚。」「氣象蕭疏，煙林清曠，毫鋒穎脫，墨法精微。」最擅長以寒林來表現嚴冬蕭颯荒寒景況。\r\n\r\n 本幅以近景為主，畫幅中央矗立著三株巨樹，一灣溪水三疊流出，激流漱石，幅內煙嵐飄忽游於林中，虛實相映。勾畫樹幹、皴樹皮、點葉皆用細筆，雖勁拔挺捷，然仍具一股娟秀氣息，樹幹上勾圈出很多木癭，枝椏若龍蛇四面分張，蒼勁遒逸，澗流兩側土坡淡墨臥筆層疊皴染，筆法細膩又具變化。水紋及騰濺水花之取筆粗細並用，且勁挺有力，似聞激濺之聲。\r\n\r\n 寒林為北方平遠的產物，主旨在表現「荒寒蕭瑟，煙蕪淒惻之情。」但李成的寒林圖，松石幽深，鳴泉流濺，主要表現的是樹石茂密之美，與宋人「松泉磐石」相似，有明月松間照，清泉石上流的意境，而非木葉盡脫、寒林蕭瑟之意。幅中畫樹枝柯分披，是李郭遺法，畫石用斧劈皴，則似出自李唐風格，以畫風而言，並非出於十世紀李成所作，較可能為十二世紀北方金人學李郭傳統之作品。",
|
| 153 |
+
"Through a forest winds a quickly flowing stream that dashes and splashes against the rocks. Tall trees appear on either side of the stream, and bands of mist float among the treetops. The brushwork in the trees is particularly strong and energetic-the branches looking like twisting dragon claws, similar to the distinctive crab-claw style of painting trees in the Li Ch'eng and Kuo Hsi tradition. In terms of style, this may be a work by a Chin dynasty artist of the 12th century following the Li-Kuo tradition.\r\n\r\nLi Ch'eng, a descendant of the T'ang imperial family, specialized in painting flat distance landscapes of misty water and trees using washes of ink."
|
| 154 |
+
],
|
| 155 |
+
"參考書目": "林麗江，〈宋李成寒林圖 軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁100-101。",
|
| 156 |
+
"收藏著錄": [
|
| 157 |
+
"石渠寶笈續編（寧壽宮），第五冊，頁2646",
|
| 158 |
+
"故宮書畫錄（卷五），第三冊，頁35",
|
| 159 |
+
"故宮書畫圖錄，第一冊，頁145-146"
|
| 160 |
+
]
|
| 161 |
+
},
|
| 162 |
+
"保存維護": {
|
| 163 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 164 |
+
"相關連結": [
|
| 165 |
+
{
|
| 166 |
+
"文本": "抽盤點紀錄",
|
| 167 |
+
"onclick": "Invertory('故畫000034N000000000')"
|
| 168 |
+
},
|
| 169 |
+
{
|
| 170 |
+
"文本": "修護紀錄",
|
| 171 |
+
"onclick": "Repair('故畫000034N000000000')"
|
| 172 |
+
}
|
| 173 |
+
]
|
| 174 |
+
}
|
| 175 |
+
}
|
data/artifact_12.json
ADDED
|
@@ -0,0 +1,177 @@
|
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|
|
|
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|
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|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
|
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|
|
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|
|
|
|
|
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|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "12",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/12?dep=P&mode=full",
|
| 4 |
+
"文物名称": "唐人春郊遊騎圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000014N000000000",
|
| 7 |
+
"作品號": "故畫00001400000",
|
| 8 |
+
"品名": "唐人春郊遊騎圖 軸\nTraveling on Horseback on a Spring Outing",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"數量": "一軸"
|
| 11 |
+
},
|
| 12 |
+
"典藏尺寸": [
|
| 13 |
+
{
|
| 14 |
+
"位置": "本幅",
|
| 15 |
+
"尺寸(公分)": "150.5x104.5"
|
| 16 |
+
}
|
| 17 |
+
],
|
| 18 |
+
"質地": [
|
| 19 |
+
{
|
| 20 |
+
"質地位置": "本幅",
|
| 21 |
+
"質地": "絹"
|
| 22 |
+
}
|
| 23 |
+
],
|
| 24 |
+
"題跋資料": {},
|
| 25 |
+
"印記資料": [
|
| 26 |
+
{
|
| 27 |
+
"印記類別": "鑑藏寶璽",
|
| 28 |
+
"印主": "清高宗",
|
| 29 |
+
"印記": "三希堂精鑑璽"
|
| 30 |
+
},
|
| 31 |
+
{
|
| 32 |
+
"印記類別": "鑑藏寶璽",
|
| 33 |
+
"印主": "清高宗",
|
| 34 |
+
"印記": "石渠定鑑"
|
| 35 |
+
},
|
| 36 |
+
{
|
| 37 |
+
"印記類別": "鑑藏寶璽",
|
| 38 |
+
"印主": "清高宗",
|
| 39 |
+
"印記": "石渠寶笈"
|
| 40 |
+
},
|
| 41 |
+
{
|
| 42 |
+
"印記類別": "鑑藏寶璽",
|
| 43 |
+
"印主": "清高宗",
|
| 44 |
+
"印記": "宜子孫"
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"印記類別": "鑑藏寶璽",
|
| 48 |
+
"印主": "宣統帝",
|
| 49 |
+
"印記": "宣統御覽之寶"
|
| 50 |
+
},
|
| 51 |
+
{
|
| 52 |
+
"印記類別": "鑑藏寶璽",
|
| 53 |
+
"印主": "清高宗",
|
| 54 |
+
"印記": "乾清宮鑑藏寶"
|
| 55 |
+
},
|
| 56 |
+
{
|
| 57 |
+
"印記類別": "鑑藏寶璽",
|
| 58 |
+
"印主": "清高宗",
|
| 59 |
+
"印記": "乾隆御覽之寶"
|
| 60 |
+
},
|
| 61 |
+
{
|
| 62 |
+
"印記類別": "鑑藏寶璽",
|
| 63 |
+
"印主": "清高宗",
|
| 64 |
+
"印記": "乾隆鑑賞"
|
| 65 |
+
},
|
| 66 |
+
{
|
| 67 |
+
"印記類別": "鑑藏寶璽",
|
| 68 |
+
"印主": "清仁宗",
|
| 69 |
+
"印記": "嘉慶御覽之寶"
|
| 70 |
+
},
|
| 71 |
+
{
|
| 72 |
+
"印記類別": "鑑藏寶璽",
|
| 73 |
+
"印主": "清高宗",
|
| 74 |
+
"印記": "寶笈重編"
|
| 75 |
+
}
|
| 76 |
+
],
|
| 77 |
+
"主題": [
|
| 78 |
+
{
|
| 79 |
+
"主題類別": "主要主題",
|
| 80 |
+
"主題(第一層)": "人物",
|
| 81 |
+
"主題(第二層)": "官員（臣）",
|
| 82 |
+
"主題說明": ""
|
| 83 |
+
},
|
| 84 |
+
{
|
| 85 |
+
"主題類別": "主要主題",
|
| 86 |
+
"主題(第一層)": "人物",
|
| 87 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 88 |
+
"主題說明": ""
|
| 89 |
+
},
|
| 90 |
+
{
|
| 91 |
+
"主題類別": "主要主題",
|
| 92 |
+
"主題(第一層)": "山水",
|
| 93 |
+
"主題(第二層)": "春景",
|
| 94 |
+
"主題說明": ""
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"主題類別": "其他主題",
|
| 98 |
+
"主題(第一層)": "山水",
|
| 99 |
+
"主題(第二層)": "江河、湖海",
|
| 100 |
+
"主題說明": ""
|
| 101 |
+
},
|
| 102 |
+
{
|
| 103 |
+
"主題類別": "其他主題",
|
| 104 |
+
"主題(第一層)": "走獸",
|
| 105 |
+
"主題(第二層)": "馬",
|
| 106 |
+
"主題說明": ""
|
| 107 |
+
},
|
| 108 |
+
{
|
| 109 |
+
"主題類別": "其他主題",
|
| 110 |
+
"主題(第一層)": "翎毛",
|
| 111 |
+
"主題(第二層)": "麻雀",
|
| 112 |
+
"主題說明": ""
|
| 113 |
+
},
|
| 114 |
+
{
|
| 115 |
+
"主題類別": "其他主題",
|
| 116 |
+
"主題(第一層)": "器用",
|
| 117 |
+
"主題(第二層)": "耕織漁獵",
|
| 118 |
+
"主題說明": "打獵"
|
| 119 |
+
},
|
| 120 |
+
{
|
| 121 |
+
"主題類別": "其他主題",
|
| 122 |
+
"主題(第一層)": "器用",
|
| 123 |
+
"主題(第二層)": "飲食器",
|
| 124 |
+
"主題說明": "壺"
|
| 125 |
+
},
|
| 126 |
+
{
|
| 127 |
+
"主題類別": "其他主題",
|
| 128 |
+
"主題(第一層)": "器用",
|
| 129 |
+
"主題(第二層)": "樂器",
|
| 130 |
+
"主題說明": "琴；笛"
|
| 131 |
+
},
|
| 132 |
+
{
|
| 133 |
+
"主題類別": "其他主題",
|
| 134 |
+
"主題(第一層)": "樹木",
|
| 135 |
+
"主題(第二層)": "櫸",
|
| 136 |
+
"主題說明": ""
|
| 137 |
+
}
|
| 138 |
+
],
|
| 139 |
+
"技法": [
|
| 140 |
+
{
|
| 141 |
+
"技法": "人物衣紋描法(勻稱線條)",
|
| 142 |
+
"技法細目": ""
|
| 143 |
+
},
|
| 144 |
+
{
|
| 145 |
+
"技法": "皴法",
|
| 146 |
+
"技法細目": "披麻皴"
|
| 147 |
+
}
|
| 148 |
+
],
|
| 149 |
+
"參考資料": {
|
| 150 |
+
"內容簡介": [
|
| 151 |
+
"遊騎七人，畫幅中間一人上身呈正面，穿著與其他六人不同，應是畫中的主人。前二人引導，後四人有的拿弓，有的拿毬棍，有的挾著琴，有的背酒，前顧後盼，各有神態。樹葉雙鉤填彩，岩石、流水和激湍都是仿古的鉤勒法，有裝飾的意味。背景樹石的構圖和院藏另一件傳為韓幹「猿馬圖」相似，不過筆墨稍遜，可能出自同一幅稿本。\r\n這幅畫沒有作者的款印，舊傳為唐人。從畫法看，時代較晚，畫中主人正面像類似明代中期畫皇帝像風格，可能出自明代宮廷畫家之手。",
|
| 152 |
+
"遊騎七人，畫幅中間一人上身呈正面，穿著與其他六人不同，應是畫中的主人。前二人引導，後四人有的拿弓，有的拿毬棍，有的挾著琴，有的揹酒，前顧後盼，各有神態。背景樹石的構圖和院藏另一件傳為韓幹〈猿馬圖〉相似，可能出自同一幅稿本。這幅畫沒有作者的款印，舊傳為唐人。從畫法看，畫中主人正面像類似明代中期畫皇帝像風格，可能出自明代宮廷畫家之手。(20100710)"
|
| 153 |
+
],
|
| 154 |
+
"Description": [
|
| 155 |
+
"In this work are 7 riders on a horseback outing. The figure in the middle appears frontal and wears clothing different from the others, suggesting he may be the host of the trip. Two figures are in the lead, and others behind carry such items as a sword, polo club, lute, and wine. The composition of trees and forms in the background is similar to another work in the Museum collection, “Gibbons and Horses” attributed to Han Gan (fl. 8th c.), and may have come from the same original. This work has no seal or signature of the artist and has an old attribution to a Tang artist. The method of frontal rendering for the host in the center is similar to imperial portrayals in the middle Ming (1368-1644), suggesting it may have been done by a Ming court artist.(20100710)",
|
| 156 |
+
"In this painting, seven riders are seen on an outing. The figure in the center is rendered frontally and wears clothing different from the other six, indicating that he may be the host. Two figures are in the lead and the others are behind carrying such items as a sword, polo club, lute, and wine. The tree leaves were done in outlines filled with colors, while the earthen forms and water were all done in imitation of an ancient method of outlining and washes of color to give the painting a decorative effect. The trees and forms in the background are similar to those in a painting attributed to Han Kan (fl. 8th c.) entitled \"Gibbons and Horses\" in the Museum collection, but slightly weaker in terms of brush and ink. It thus may have been done after the same original.\r\nThis painting bears neither signature nor seal of the artist and was attributed in the past to an anonymous artist of the T'ang. Judging from the style, the painting appears to date to a later period. The host figure appears similar in manner to imperial portraits from the middle Ming dynasty (1368-1644), indicating that it may have come from the hand of a Ming court painter."
|
| 157 |
+
],
|
| 158 |
+
"收藏著錄": [
|
| 159 |
+
"石渠寶笈續編（乾清宮），第一冊，頁287",
|
| 160 |
+
"故宮書畫錄（卷五），第三冊，頁13",
|
| 161 |
+
"故宮書畫圖錄，第一冊，頁41-42"
|
| 162 |
+
]
|
| 163 |
+
},
|
| 164 |
+
"保存維護": {
|
| 165 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 166 |
+
"相關連結": [
|
| 167 |
+
{
|
| 168 |
+
"文本": "抽盤點紀錄",
|
| 169 |
+
"onclick": "Invertory('故畫000014N000000000')"
|
| 170 |
+
},
|
| 171 |
+
{
|
| 172 |
+
"文本": "修護紀錄",
|
| 173 |
+
"onclick": "Repair('故畫000014N000000000')"
|
| 174 |
+
}
|
| 175 |
+
]
|
| 176 |
+
}
|
| 177 |
+
}
|
data/artifact_1219.json
ADDED
|
@@ -0,0 +1,228 @@
|
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|
|
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|
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|
|
|
|
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|
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|
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|
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|
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|
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|
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|
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|
|
|
|
|
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|
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|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1219",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1219?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋李嵩聽阮圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000106N000000000",
|
| 7 |
+
"作品號": "故畫00010600000",
|
| 8 |
+
"品名": "宋李嵩聽阮圖 軸\nListening to a Ruan Lute",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "李嵩",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "177.5x104.5"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "李嵩\n印記\nexpand_more",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "李嵩",
|
| 31 |
+
"書體": "楷書",
|
| 32 |
+
"全文": "",
|
| 33 |
+
"印記資料": [
|
| 34 |
+
{
|
| 35 |
+
"印主": "李嵩",
|
| 36 |
+
"印記": "錢塘李嵩印章"
|
| 37 |
+
}
|
| 38 |
+
]
|
| 39 |
+
}
|
| 40 |
+
],
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "鑑藏寶璽",
|
| 44 |
+
"印主": "清仁宗",
|
| 45 |
+
"印記": "三希堂精鑑璽"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "鑑藏寶璽",
|
| 49 |
+
"印主": "清仁宗",
|
| 50 |
+
"印記": "石渠寶笈"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "鑑藏寶璽",
|
| 54 |
+
"印主": "清仁宗",
|
| 55 |
+
"印記": "宜子孫"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "鑑藏寶璽",
|
| 59 |
+
"印主": "宣統帝",
|
| 60 |
+
"印記": "宣統御覽之寶"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "鑑藏寶璽",
|
| 64 |
+
"印主": "宣統帝",
|
| 65 |
+
"印記": "宣統鑒賞"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "鑑藏寶璽",
|
| 69 |
+
"印主": "清高宗",
|
| 70 |
+
"印記": "乾隆御覽之寶"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "鑑藏寶璽",
|
| 74 |
+
"印主": "清高宗",
|
| 75 |
+
"印記": "乾隆鑑賞"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "鑑藏寶璽",
|
| 79 |
+
"印主": "宣統帝",
|
| 80 |
+
"印記": "無逸齋精鑑璽"
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"印記類別": "鑑藏寶璽",
|
| 84 |
+
"印主": "清仁宗",
|
| 85 |
+
"印記": "嘉慶御覽之寶"
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"印記類別": "鑑藏寶璽",
|
| 89 |
+
"印主": "清仁宗",
|
| 90 |
+
"印記": "嘉慶鑑賞"
|
| 91 |
+
},
|
| 92 |
+
{
|
| 93 |
+
"印記類別": "鑑藏寶璽",
|
| 94 |
+
"印主": "清仁宗",
|
| 95 |
+
"印記": "寶笈三編"
|
| 96 |
+
}
|
| 97 |
+
],
|
| 98 |
+
"主題": [
|
| 99 |
+
{
|
| 100 |
+
"主題類別": "主要主題",
|
| 101 |
+
"主題(第一層)": "人物",
|
| 102 |
+
"主題(第二層)": "仕女",
|
| 103 |
+
"主題說明": ""
|
| 104 |
+
},
|
| 105 |
+
{
|
| 106 |
+
"主題類別": "主要主題",
|
| 107 |
+
"主題(第一層)": "人物",
|
| 108 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 109 |
+
"主題說明": ""
|
| 110 |
+
},
|
| 111 |
+
{
|
| 112 |
+
"主題類別": "其他主題",
|
| 113 |
+
"主題(第一層)": "人物",
|
| 114 |
+
"主題(第二層)": "侍從（侍女、童僕）",
|
| 115 |
+
"主題說明": ""
|
| 116 |
+
},
|
| 117 |
+
{
|
| 118 |
+
"主題類別": "其他主題",
|
| 119 |
+
"主題(第一層)": "山水",
|
| 120 |
+
"主題(第二層)": "奇石",
|
| 121 |
+
"主題說明": ""
|
| 122 |
+
},
|
| 123 |
+
{
|
| 124 |
+
"主題類別": "其他主題",
|
| 125 |
+
"主題(第一層)": "花草",
|
| 126 |
+
"主題(第二層)": "剪秋羅、石竹",
|
| 127 |
+
"主題說明": ""
|
| 128 |
+
},
|
| 129 |
+
{
|
| 130 |
+
"主題類別": "其他主題",
|
| 131 |
+
"主題(第一層)": "建築",
|
| 132 |
+
"主題(第二層)": "庭院",
|
| 133 |
+
"主題說明": ""
|
| 134 |
+
},
|
| 135 |
+
{
|
| 136 |
+
"主題類別": "其他主題",
|
| 137 |
+
"主題(第一層)": "建築",
|
| 138 |
+
"主題(第二層)": "欄杆",
|
| 139 |
+
"主題說明": ""
|
| 140 |
+
},
|
| 141 |
+
{
|
| 142 |
+
"主題類別": "其他主題",
|
| 143 |
+
"主題(第一層)": "器用",
|
| 144 |
+
"主題(第二層)": "文房用具",
|
| 145 |
+
"主題說明": ""
|
| 146 |
+
},
|
| 147 |
+
{
|
| 148 |
+
"主題類別": "其他主題",
|
| 149 |
+
"主題(第一層)": "器用",
|
| 150 |
+
"主題(第二層)": "花器",
|
| 151 |
+
"主題說明": ""
|
| 152 |
+
},
|
| 153 |
+
{
|
| 154 |
+
"主題類別": "其他主題",
|
| 155 |
+
"主題(第一層)": "器用",
|
| 156 |
+
"主題(第二層)": "傢俱（屏風）",
|
| 157 |
+
"主題說明": ""
|
| 158 |
+
},
|
| 159 |
+
{
|
| 160 |
+
"主題類別": "其他主題",
|
| 161 |
+
"主題(第一層)": "器用",
|
| 162 |
+
"主題(第二層)": "飲食器",
|
| 163 |
+
"主題說明": ""
|
| 164 |
+
},
|
| 165 |
+
{
|
| 166 |
+
"主題類別": "其他主題",
|
| 167 |
+
"主題(第一層)": "器用",
|
| 168 |
+
"主題(第二層)": "樂器",
|
| 169 |
+
"主題���明": "阮咸"
|
| 170 |
+
},
|
| 171 |
+
{
|
| 172 |
+
"主題類別": "其他主題",
|
| 173 |
+
"主題(第一層)": "樹木",
|
| 174 |
+
"主題(第二層)": "",
|
| 175 |
+
"主題說明": ""
|
| 176 |
+
},
|
| 177 |
+
{
|
| 178 |
+
"主題類別": "其他主題",
|
| 179 |
+
"主題(第一層)": "樹木",
|
| 180 |
+
"主題(第二層)": "芭蕉",
|
| 181 |
+
"主題說明": ""
|
| 182 |
+
}
|
| 183 |
+
],
|
| 184 |
+
"技法": [
|
| 185 |
+
{
|
| 186 |
+
"技法": "工筆",
|
| 187 |
+
"技法細目": ""
|
| 188 |
+
},
|
| 189 |
+
{
|
| 190 |
+
"技法": "界畫",
|
| 191 |
+
"技法細目": ""
|
| 192 |
+
},
|
| 193 |
+
{
|
| 194 |
+
"技法": "雙鉤",
|
| 195 |
+
"技法細目": ""
|
| 196 |
+
}
|
| 197 |
+
],
|
| 198 |
+
"參考資料": {
|
| 199 |
+
"收藏著錄": [
|
| 200 |
+
"石渠寶笈三編（乾清宮），第一冊，頁500",
|
| 201 |
+
"故宮書畫錄（卷五），第三冊，頁91",
|
| 202 |
+
"故宮書畫圖錄，第二冊，頁139-140"
|
| 203 |
+
],
|
| 204 |
+
"參考書目": [
|
| 205 |
+
"1.劉芳如，〈明人聽阮圖（舊傳宋李嵩）〉，收入劉芳如、張華芝主編，《群芳譜 — 女性的形象與才藝》（臺北：國立故宮博物院，2003年初版一刷），頁47。\r\n2.劉芳如，〈宋李嵩聽阮圖〉，收入國立故宮博物院編輯委員會編，《仕女畫之美》（臺北：國立故宮博物院，1988年四月初版），頁79。\r\n3.本社，〈宋李嵩聽阮圖〉，《故宮文物月刊》，第62期（1988年5月），封底裡。",
|
| 206 |
+
"劉芳如，〈宋李嵩聽阮圖 軸〉，收入劉芳如主編《她-女性形象與才藝》（臺北：國立故宮博物院，2020.10），頁56-59、250。",
|
| 207 |
+
"〈宋李嵩聽阮圖 軸〉，收入國立故宮博物院編輯委員會、林莉娜主編《畫中家具特展》（臺北：國立故宮博物院，1996.10），頁38-39、116。"
|
| 208 |
+
],
|
| 209 |
+
"網頁展示說明": [
|
| 210 |
+
"畫面由前景向右延展之樹木圈圍出一文士坐於床榻上，手持拂塵，傾聽女子撥阮演奏，樹葉顫抖窸縮的表現彷彿再現了音樂迴響之感。四周仕女或焚香、或揮扇、或簪花，配合桌上的古琴與古玩，呈現一派文人生活的風雅。本幅的構圖與人物造型皆與唐寅〈陶穀贈詞圖〉相近，惟筆法更為緊湊老練，細節極為接近院藏杜堇〈玩古圖〉，或即為杜堇或同時人之作。李嵩款為添偽。(20100710)",
|
| 211 |
+
"The composition goes from the foreground to the right. A scholar under a tree sits on a daybed with a flywhisk and listens to a lady play a ruan lute. The quivering, trembling quality of foliage also seems to echo the feeling of music. Three other ladies prepare incense, hold a fan, and wear pins in their hair. Complemented by an archaic zither and curios here, it reveals the elegant life of a traditional literatus. The composition and figures are similar to \"Tao Gu Presenting a Verse\" by Tang Yin in the Museum collection, except that the brushwork here is more terse and mature, being closer instead to the Museum's \"Appreciating Antiquities\" by Du Jin (fl. ca. 1465-1505), suggesting that this may have actually been done by Du as well. The Li Song signature is a later addition.(20100710)",
|
| 212 |
+
"前景から右へ伸びた樹木が寢台に座る文士を囲むように描かれ、文士は手に払子を持ち、女性の奏でる月琴の音色に耳を傾けている。木の葉が小刻みに震えたような描畫表現は、まるで音楽の響きを再現しているかのうようである。周りの仕女はある者は香を焚き、ある者は団扇を扇ぎ、またある者は花を髪に插し、卓上の古琴と骨董と合わせ、風雅な文人生活が描き出されている。本作の構図と人物の造型は、唐寅の「陶穀贈詞図」とよく似ているが、筆法は緻密で老練であり、細部に至っては当博物院が所蔵する杜堇の「玩古図」に近く、杜堇またはその時代の畫家による作品と思われる。李嵩の款識は偽款。(20100710)"
|
| 213 |
+
]
|
| 214 |
+
},
|
| 215 |
+
"保存維護": {
|
| 216 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 217 |
+
"相關連結": [
|
| 218 |
+
{
|
| 219 |
+
"文本": "抽盤點紀錄",
|
| 220 |
+
"onclick": "Invertory('故畫000106N000000000')"
|
| 221 |
+
},
|
| 222 |
+
{
|
| 223 |
+
"文本": "修護紀錄",
|
| 224 |
+
"onclick": "Repair('故畫000106N000000000')"
|
| 225 |
+
}
|
| 226 |
+
]
|
| 227 |
+
}
|
| 228 |
+
}
|
data/artifact_1223.json
ADDED
|
@@ -0,0 +1,152 @@
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1223",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1223?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋李成寒江釣艇 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000036N000000000",
|
| 7 |
+
"作品號": "故畫00003600000",
|
| 8 |
+
"品名": "宋李成寒江釣艇 軸\nFishing Boat on a Wintry River",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "李成,Li Cheng",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "170x101.9"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "題跋",
|
| 28 |
+
"作者": "",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "文山復心為戴氏□□書",
|
| 31 |
+
"書體": "",
|
| 32 |
+
"全文": "萬仞之山高插天。瀑布飛流千尺泉。山高仰見三峽近。白晝但見雲連烟。岧嶤直下幾百里。巖上有松巖下水。老松偃蓋走虯龍。六月蕭蕭寒風起。江間浪靜一漁舟。怡然獨釣披羊裘。長竿掣得□鰲上。不帶紅塵半點愁。此翁佳趣誰能若。呂望嚴陵擬斟酌。江山可易心不移。樂山樂水有真樂。畫師好手良難逢。萬物收拾歸圖中。便將風月等閒看。不出門庭要令生意終無窮。文山復心為戴氏□□書。"
|
| 33 |
+
},
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "題跋",
|
| 36 |
+
"作者": "",
|
| 37 |
+
"位置": "本幅",
|
| 38 |
+
"款識": "文江。默庵。",
|
| 39 |
+
"書體": "",
|
| 40 |
+
"全文": "青山崔嵬勢接天。山中白雪飛岩泉。山耶水耶倚空壁。蒼蒼萬頃和雲煙。初疑蓬萊三萬里。無波無濤隔弱水。又疑帝子撒瓊瑤。破肉寒商揚石起。悠悠一叟棹輕舟。四時穿著如狐裘。厖眉白髮天下老。寸心炯炯無閑愁。嗟哉子陵未似若。錦鱗白酒恣傾酌。十二時中風雨來。兩耳不聞自歡樂。好山好水真難逢。誰能置我乎岩中。還君此畫更歎息。□□茅屋可歲終。何窮。（原文僅寫至此處）。文江。默庵。"
|
| 41 |
+
}
|
| 42 |
+
],
|
| 43 |
+
"印記資料": [
|
| 44 |
+
{
|
| 45 |
+
"印記類別": "收傳印記",
|
| 46 |
+
"印主": "畢瀧",
|
| 47 |
+
"印記": "畢瀧藏書畫記"
|
| 48 |
+
},
|
| 49 |
+
{
|
| 50 |
+
"印記類別": "鑑藏寶璽",
|
| 51 |
+
"印主": "宣統帝",
|
| 52 |
+
"印記": "宣統御覽之寶"
|
| 53 |
+
},
|
| 54 |
+
{
|
| 55 |
+
"印記類別": "鑑藏寶璽",
|
| 56 |
+
"印主": "清仁宗",
|
| 57 |
+
"印記": "嘉慶御覽之寶"
|
| 58 |
+
}
|
| 59 |
+
],
|
| 60 |
+
"主題": [
|
| 61 |
+
{
|
| 62 |
+
"主題類別": "主要主題",
|
| 63 |
+
"主題(第一層)": "山水",
|
| 64 |
+
"主題(第二層)": "冬景（雪景）",
|
| 65 |
+
"主題說明": ""
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"主題類別": "主要主題",
|
| 69 |
+
"主題(第一層)": "樹木",
|
| 70 |
+
"主題(第二層)": "松",
|
| 71 |
+
"主題說明": ""
|
| 72 |
+
},
|
| 73 |
+
{
|
| 74 |
+
"主題類別": "其他主題",
|
| 75 |
+
"主題(第一層)": "人物",
|
| 76 |
+
"主題(第二層)": "漁夫、船夫",
|
| 77 |
+
"主題說明": ""
|
| 78 |
+
},
|
| 79 |
+
{
|
| 80 |
+
"主題類別": "其他主題",
|
| 81 |
+
"主題(第一層)": "山水",
|
| 82 |
+
"主題(第二層)": "江河、湖海",
|
| 83 |
+
"主題說明": ""
|
| 84 |
+
},
|
| 85 |
+
{
|
| 86 |
+
"主題類別": "其他主題",
|
| 87 |
+
"主題(第一層)": "山水",
|
| 88 |
+
"主題(第二層)": "溪澗、湍泉",
|
| 89 |
+
"主題說明": ""
|
| 90 |
+
},
|
| 91 |
+
{
|
| 92 |
+
"主題類別": "其他主題",
|
| 93 |
+
"主題(第一層)": "山水",
|
| 94 |
+
"主題(第二層)": "瀑布",
|
| 95 |
+
"主題說明": ""
|
| 96 |
+
},
|
| 97 |
+
{
|
| 98 |
+
"主題類別": "其他主題",
|
| 99 |
+
"主題(第一層)": "船",
|
| 100 |
+
"主題(第二層)": "漁船",
|
| 101 |
+
"主題說明": ""
|
| 102 |
+
},
|
| 103 |
+
{
|
| 104 |
+
"主題類別": "其他主題",
|
| 105 |
+
"主題(第一層)": "器用",
|
| 106 |
+
"主題(第二層)": "耕織漁獵",
|
| 107 |
+
"主題說明": "釣具"
|
| 108 |
+
},
|
| 109 |
+
{
|
| 110 |
+
"主題類別": "其他主題",
|
| 111 |
+
"主題(第一層)": "樹木",
|
| 112 |
+
"主題(第二層)": "寒林．枯樹",
|
| 113 |
+
"主題說明": ""
|
| 114 |
+
}
|
| 115 |
+
],
|
| 116 |
+
"技法": [
|
| 117 |
+
{
|
| 118 |
+
"技法": "皴法",
|
| 119 |
+
"技法細目": ""
|
| 120 |
+
}
|
| 121 |
+
],
|
| 122 |
+
"參考資料": {
|
| 123 |
+
"內容簡介": [
|
| 124 |
+
"李成（西元916—967年），字咸熙。他是唐朝皇室的後裔，本住長安，唐末遷移到青州（今山東益都）。他的性情放蕩不羈，喜好喝酒、吟詩，擅長山水畫。山泉從懸崖上奔瀉而下，幾株古松參差挺峙。白雪覆蓋著大地，黝黑之中，顯得天地沉陰，江流寒凍，而有一個漁人在寒江中獨釣，善於形容寒意。山石皴染有如��狀，圓渾厚重。用筆常扭轉運行，速度頗快，甚為粗放活潑。漁翁、小船的用筆全中鋒，細密穩健。",
|
| 125 |
+
"李成（西元九一六—九六七年），唐朝皇室後裔，五代山東人。五代北宋初為水墨山水畫成熟時期，李成的松石平遠，富呎尺千里氣象。與北方荊浩、關仝、范寬，南方董源、巨然發展成兩大山水畫系。畫中高山飛瀑，巖上老松偃蓋。前景巨松挺立，漁人寒江獨釣。山石皴染如雲狀，受北宋郭熙山水畫皴法影響。然用筆活潑快速，不完全拘泥於物象。由畫風及題跋書風來看，應可接受為元人李郭畫風作品。",
|
| 126 |
+
"李成（916－967），唐朝皇室後裔，山東人。五代至北宋初，李成的松石平遠，富呎尺千里氣象，與北方的荊浩、關仝、范寬，以及南方的董源、巨然發展出中國水墨山水畫的兩大系統。\r\n畫中高山飛瀑，巖上老松偃蓋。前景巨松挺立，漁人寒江獨釣。山石皴染如雲，受北宋郭熙山水畫皴法影響，然用筆活潑快速，不完全拘泥於物象。由畫風及題跋書風來看，推測為元人李郭派的作品。(20110913)"
|
| 127 |
+
],
|
| 128 |
+
"Description": [
|
| 129 |
+
"Li Cheng, a descendant of the Tang dynasty imperial clan, was a native of Shandong first active in the Five Dynasties period. From the Five Dynasties to early Song dynasty, Li’s level-distance renderings of pines and rocks, with their atmosphere of great distance, formed part of the major northern tradition of Chinese ink landscape painting along with such northern artists as Jing Hao, Guan Tong, and Fan Kuan, in contrast to the southern tradition of Dong Yuan and Juran.\r\nIn this painting is a tall peak and a cascade with old pines dotting the craggy forms. Great pines stand in front, where a fisherman is alone on the cold river. Earthen forms, textured and washed into cloud-like shapes, reflect the later influence of Guo Xi’s texturing method. The vigorous, quick brushwork also does not fully adhere to natural forms. Thus, the style of the painting and inscription suggest a Yuan dynasty artist influenced by the Li-Guo School. \r\n(20110913)",
|
| 130 |
+
"Li Ch’eng, a T’ang imperial descendant, was a native of Shantung. Ink landscape painting peaked in the Five Dynasties and early Sung, with Li’s level-distance pines and rocks having great distance. With such northern artists as Ching Hao, Kuan T’ung, and Fan K’uan, they formed a great landscape tradition. The tall peak with a cascade here is dotted with old pines and craggy forms. Great pines stand in front, where a fisherman is alone on the cold river. Earthen forms, textured and washed into cloud-like shapes, reflect the later influence of Kuo Hsi’s texture method. The vigorous, quick brushwork also does not fully adhere to natural forms. Thus, the painting and inscription style suggest a Yuan (1279-1368) work influenced by the Li-Kuo style.",
|
| 131 |
+
"Above a river bank, a waterfall cascades into the depths of a ravine. Several pines rise up from the bank above an old man who contentedly fishes the wintry waters. The land is covered by snow and the dark sky appears foreboding. The washes of texture strokes that define the rocks and mountains are effervescent, yet full and voluminous. The use of the brush in describing the trees and outlines of the rocks is animated and lively , while the renditions of the fisherman and skiff are steady. The artist here was obviously familiar with the style of Li Ch’eng and Kuo His (fl.11th c.) known as Li-Kuo. This painting bears neither seal nor signature of artist and has been traditionally attributed to Li Ch’eng. Some modern scholars believe that it might be from the hand of the Li-Kuo School painter Chu Te-jun (1294-1365) of the Yuan dynasty."
|
| 132 |
+
],
|
| 133 |
+
"收藏著錄": [
|
| 134 |
+
"故宮書畫錄（卷五），第三冊，頁36-37",
|
| 135 |
+
"故宮書畫圖錄，第一冊，頁149-150"
|
| 136 |
+
],
|
| 137 |
+
"參考書目": "1.許郭璜，〈宋李成寒江釣艇〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁19-22。\r\n2.〈北宋李成寒江釣艇圖〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁212。"
|
| 138 |
+
},
|
| 139 |
+
"保存維護": {
|
| 140 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 141 |
+
"相關連結": [
|
| 142 |
+
{
|
| 143 |
+
"文本": "抽盤點紀錄",
|
| 144 |
+
"onclick": "Invertory('故畫000036N000000000')"
|
| 145 |
+
},
|
| 146 |
+
{
|
| 147 |
+
"文本": "修護紀錄",
|
| 148 |
+
"onclick": "Repair('故畫000036N000000000')"
|
| 149 |
+
}
|
| 150 |
+
]
|
| 151 |
+
}
|
| 152 |
+
}
|
data/artifact_1227.json
ADDED
|
@@ -0,0 +1,221 @@
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|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1227",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1227?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋趙昌歲朝圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000049N000000000",
|
| 7 |
+
"作品號": "故畫00004900000",
|
| 8 |
+
"品名": "宋趙昌歲朝圖 軸\nNew Year’s Day",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "趙昌,Zhao Chang",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "103.8x51.2"
|
| 17 |
+
},
|
| 18 |
+
{
|
| 19 |
+
"位置": "詩塘",
|
| 20 |
+
"尺寸(公分)": "30.9x51.6"
|
| 21 |
+
}
|
| 22 |
+
],
|
| 23 |
+
"質地": [
|
| 24 |
+
{
|
| 25 |
+
"質地位置": "詩塘",
|
| 26 |
+
"質地": "紙"
|
| 27 |
+
},
|
| 28 |
+
{
|
| 29 |
+
"質地位置": "本幅",
|
| 30 |
+
"質地": "絹"
|
| 31 |
+
}
|
| 32 |
+
],
|
| 33 |
+
"題跋資料": [
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "作者款識",
|
| 36 |
+
"作者": "趙昌",
|
| 37 |
+
"位置": "本幅",
|
| 38 |
+
"款識": "臣昌（重一）",
|
| 39 |
+
"書體": "",
|
| 40 |
+
"全文": ""
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"題跋類別": "題跋",
|
| 44 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 45 |
+
"位置": "詩塘",
|
| 46 |
+
"款識": "丙申歲朝。御筆。",
|
| 47 |
+
"書體": "行書",
|
| 48 |
+
"全文": "滿幅輕綃薈眾芳。歲朝首祚報韶光。硃紅石綠出畫院。寫態傳情惟趙昌。祇以麗稱弗論格。稡於多處若聞香。宣和好畫非真好。跡涉竽吹熱鬧場。江少虞謂趙昌畫若染成。不為采色所隱。是幀寫生工妙。信非昌不能辦。第玩其結構。下截布置分明。水仙已居其半。而湖石以上僅五寸許。花朵繁密。略無餘地。枝幹俱未能展拓盡勢。名人章法。殊不如此。蓋畫幅本大。或有破損處。為庸賈割去。別署偽款。所存已非全壁。然昌畫不多覯。吉光片羽。亦自可珍。既題以什。並識所見如右。丙申(西元一七七六年)歲朝。御筆。",
|
| 49 |
+
"印記資料": [
|
| 50 |
+
{
|
| 51 |
+
"印主": "清高宗",
|
| 52 |
+
"印記": "乾"
|
| 53 |
+
},
|
| 54 |
+
{
|
| 55 |
+
"印主": "清高宗",
|
| 56 |
+
"印記": "隆"
|
| 57 |
+
}
|
| 58 |
+
]
|
| 59 |
+
}
|
| 60 |
+
],
|
| 61 |
+
"印記資料": [
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "收傳印記",
|
| 64 |
+
"印主": "項元汴",
|
| 65 |
+
"印記": "子京（瓢印）"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "收傳印記",
|
| 69 |
+
"印主": "",
|
| 70 |
+
"印記": "天目山房圖書之記"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "收傳印記",
|
| 74 |
+
"印主": "項元汴",
|
| 75 |
+
"印記": "項叔子"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "收傳印記",
|
| 79 |
+
"印主": "項元汴",
|
| 80 |
+
"印記": "項墨林秘笈之印"
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"印記類別": "鑑藏寶璽",
|
| 84 |
+
"印主": "清高宗",
|
| 85 |
+
"印記": "八徵耄念之寶"
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"印記類別": "鑑藏寶璽",
|
| 89 |
+
"印主": "清高宗",
|
| 90 |
+
"印記": "三希堂精鑑璽"
|
| 91 |
+
},
|
| 92 |
+
{
|
| 93 |
+
"印記類別": "鑑藏寶璽",
|
| 94 |
+
"印主": "清高宗",
|
| 95 |
+
"印記": "石渠定鑑"
|
| 96 |
+
},
|
| 97 |
+
{
|
| 98 |
+
"印記類別": "鑑藏寶璽",
|
| 99 |
+
"印主": "清高宗",
|
| 100 |
+
"印記": "石渠寶笈"
|
| 101 |
+
},
|
| 102 |
+
{
|
| 103 |
+
"印記類別": "鑑藏寶璽",
|
| 104 |
+
"印主": "清高宗",
|
| 105 |
+
"印記": "宜子孫"
|
| 106 |
+
},
|
| 107 |
+
{
|
| 108 |
+
"印記類別": "鑑藏寶璽",
|
| 109 |
+
"印主": "清宣統帝",
|
| 110 |
+
"印記": "宣統御覽之寶"
|
| 111 |
+
},
|
| 112 |
+
{
|
| 113 |
+
"印記類別": "鑑藏寶璽",
|
| 114 |
+
"印主": "清宣統帝",
|
| 115 |
+
"印記": "宣統鑑賞"
|
| 116 |
+
},
|
| 117 |
+
{
|
| 118 |
+
"印記類別": "鑑藏寶璽",
|
| 119 |
+
"印主": "清高宗",
|
| 120 |
+
"印記": "乾隆御覽之寶"
|
| 121 |
+
},
|
| 122 |
+
{
|
| 123 |
+
"印記類別": "鑑藏寶璽",
|
| 124 |
+
"印主": "清高宗",
|
| 125 |
+
"印記": "乾隆鑑賞"
|
| 126 |
+
},
|
| 127 |
+
{
|
| 128 |
+
"印記類別": "鑑藏寶璽",
|
| 129 |
+
"印主": "清高宗",
|
| 130 |
+
"印記": "御書房鑑藏寶"
|
| 131 |
+
},
|
| 132 |
+
{
|
| 133 |
+
"印記類別": "鑑藏寶璽",
|
| 134 |
+
"印主": "清宣統帝",
|
| 135 |
+
"印記": "無逸齋精鑒璽"
|
| 136 |
+
},
|
| 137 |
+
{
|
| 138 |
+
"印記類別": "鑑藏寶璽",
|
| 139 |
+
"印主": "清仁宗",
|
| 140 |
+
"印記": "嘉慶御覽之寶"
|
| 141 |
+
},
|
| 142 |
+
{
|
| 143 |
+
"印記類別": "鑑藏寶璽",
|
| 144 |
+
"印主": "清高宗",
|
| 145 |
+
"印記": "寶笈重編"
|
| 146 |
+
}
|
| 147 |
+
],
|
| 148 |
+
"主題": [
|
| 149 |
+
{
|
| 150 |
+
"主題類別": "主要主題",
|
| 151 |
+
"主題(第一層)": "節令與二十四節氣",
|
| 152 |
+
"主題(第二層)": "年節",
|
| 153 |
+
"主��說明": ""
|
| 154 |
+
},
|
| 155 |
+
{
|
| 156 |
+
"主題類別": "其他主題",
|
| 157 |
+
"主題(第一層)": "山水",
|
| 158 |
+
"主題(第二層)": "奇石",
|
| 159 |
+
"主題說明": ""
|
| 160 |
+
},
|
| 161 |
+
{
|
| 162 |
+
"主題類別": "其他主題",
|
| 163 |
+
"主題(第一層)": "花草",
|
| 164 |
+
"主題(第二層)": "水仙",
|
| 165 |
+
"主題說明": ""
|
| 166 |
+
},
|
| 167 |
+
{
|
| 168 |
+
"主題類別": "其他主題",
|
| 169 |
+
"主題(第一層)": "花草",
|
| 170 |
+
"主題(第二層)": "牡丹",
|
| 171 |
+
"主題說明": ""
|
| 172 |
+
},
|
| 173 |
+
{
|
| 174 |
+
"主題類別": "其他主題",
|
| 175 |
+
"主題(第一層)": "花草",
|
| 176 |
+
"主題(第二層)": "茶花",
|
| 177 |
+
"主題說明": ""
|
| 178 |
+
},
|
| 179 |
+
{
|
| 180 |
+
"主題類別": "其他主題",
|
| 181 |
+
"主題(第一層)": "花草",
|
| 182 |
+
"主題(第二層)": "梅（白．紅．蠟梅）",
|
| 183 |
+
"主題說明": ""
|
| 184 |
+
}
|
| 185 |
+
],
|
| 186 |
+
"技法": [
|
| 187 |
+
{
|
| 188 |
+
"技法": "工筆",
|
| 189 |
+
"技法細目": ""
|
| 190 |
+
}
|
| 191 |
+
],
|
| 192 |
+
"參考資料": {
|
| 193 |
+
"內容簡介": "趙昌（約十世紀末至十一世紀初），四川成都人。字昌之。善畫花卉，每晨朝露下，時遶欄諦觀，手中調彩色寫之，自號寫生，作品傳世甚少。 宋郭若虛「圖畫見聞誌」，有鋪殿花一條謂：「江南徐熙輩，於縑素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙，供宮中挂設。又有裝堂花，意在位置端莊，駢羅整肅，多不取生意自然之態。」蓋略同於今之圖案畫，本幅構景命意，或此一派之流衍。",
|
| 194 |
+
"Description": "Chao Ch'ang (style name Ch'ang-chih) was a native of Ch'eng-tu, Szechuan. A skilled painter of flowers, he got up early every morning, went to the balustrade, and carefully looked at the plants. Using his colors, Chao depicted what he saw and thus later adopted the sobriquet Hsieh-sheng (“Sketching from Life”). Unfortunately, his surviving works are extremely rare today. In Kuo Jo-hsu's Record of Experiences in Painting (1074), he included a section entitled “Arranging Flowers in the Palace Halls” in which he stated, “On fine silk to be hung in the palace, artists like Hsu Hsi of Kiangnan painted masses of flowers and layers of stones with herbs and sprouts next to them, as well as an assortment of birds and insects.” The paintings in another section, “Making Flowers for the Hall,” were meant to have dignified and balanced compositions, but lacked liveliness and naturalness. They were thus similar in spirit to decorative paintings still being produced today. This might have been the intent behind the composition of this work, suggesting the prevelance of this type of painting through the ages.",
|
| 195 |
+
"網頁展示說明": [
|
| 196 |
+
"趙昌（10-11世紀間），字昌之，四川成都人。善畫花卉，每於清晨朝露下，對景描摹，故自號寫生。\r\n郭若虛〈圖畫見聞誌〉有「鋪殿花」一條，謂徐熙於縑素上描繪花卉奇石，摻以鳥蟲，專供宮廷掛設之用，又名「裝堂花」。此類作品佈置多較工整繁密，不刻意表現自然生態。〈歳朝圖〉的構景命意，不無侔合處，或即徐熙「鋪殿花」的傳派。本幅雖有「臣昌」二字款，但以筆墨畫風論，應是宋以後畫家的託名之作。(20110102)",
|
| 197 |
+
"Zhao Chang (style name Changzhi) was a native of Chengdu in Sichuan. Excelling at painting flowers, he went out every morning in the dew to capture the scenery, using a method he called \"sketching from life.\"\r\nIn Guo Ruoxu's Record of Experiences in Painting is a section that mentions \"palace-filling flowers.\" It was a kind of hanging scroll format specially designed for the court, in which Xu Xi (fl. 9th-10th c.) depicted flowers and exotic rocks on fine silk combined with birds and insects. Also known as \"hall-decorating flowers,\" this kind of work features an arrangement of many motifs in a fine yet complex composition that intentionally does not seek to express scenery as it appears in nature. The choice of the title and composition for \"Picture of the New Year\" here is not without reason, for it is still in the tradition of Xu Xi's \"palace-filling flowers.\" Although two characters for the signature \"Servitor Chang\" appear here, the brushwork and painting style suggest the work of a post-Song dynasty (960-1279) painter. (20110102)",
|
| 198 |
+
"趙昌（10-11世紀の間）、字は昌之、四川成都の人。花卉畫を善くし、毎朝、朝露も乾かぬ早朝に写生をしたので、自ら写生と號した。\r\n郭若虛『図畫見聞誌』に「鋪殿花」という項目がある。それによると徐熙は、縑素（書畫に用いる絹布）に鳥類や昆虫も添えて花卉や奇石を描き、宮廷の裝飾用にのみ供用したといい、これらの作品を「裝堂花」とも稱した。この種の作品は、きっちりと整った構図にびっしりと描き込まれたものが多く、自然の生態を表現しようとしたものではない。「歳朝図」の構図や主題はそれに合致する部分があり、徐熙の「鋪殿花」の流れを汲む流派であろう。本作には「臣昌」二文字の款があるが、筆致や畫風から見るに、宋代以降の畫家が趙昌の名で描いた作と思われる。 (20110102)"
|
| 199 |
+
],
|
| 200 |
+
"收藏著錄": [
|
| 201 |
+
"石渠寶笈續編（御書房），第四冊，頁1917",
|
| 202 |
+
"故宮書畫錄（卷五），第三冊，頁48-49",
|
| 203 |
+
"故宮書畫圖錄，第一冊，頁199-200"
|
| 204 |
+
],
|
| 205 |
+
"研究性論著": "「歲朝圖」上雖有趙昌的名款「臣昌」二字，但以筆墨畫風及苔石坡草等的畫法而論，則不似宋代風格（註1）。詩塘上乾隆皇帝題曰：「蓋畫幅本大，或有破損處，為庸賈割去，別署偽款，所存已非全璧。」而從畫幅邊緣裁切的不甚自然來看，當有此可能性。（註2）\r\n幅中梅花、山茶、水仙和長春花，以硃砂、白粉、胭脂、石綠畫成，再用石青填底，色彩明麗，顯得富麗堂皇。其構圖特殊，由湖石和繁密交錯的花朵，佈滿整個畫面，絲毫不留空地，整齊嚴肅，極具裝飾的效果。在宋郭若虛的《圖畫見聞誌》中提及，南唐宮廷中有被稱為「鋪殿花」的繪畫作品，為宮院掛設之用，必需位置端莊，駢羅整肅，多不取生意自然之態（註3），而此幅作品的構圖命意正與之相吻合，可作為此一風格延續的代表。\r\n趙昌（約10世紀末至11世紀初），字昌之，四川成都人。善畫花果，常於清晨朝露下，遶欄觀賞花卉，並即時描繪之，因自號「寫生趙昌」。然傳世的作品甚少，故已難於確認其繪畫風貌。（譚怡令）\r\n註1：Flowers of the New Year's Day. Plum blossoms, camelias, narcissus, andothers by\t a rockery. Twospurious signatures. Ming decorative work; see James Cahill, An Index of\tEarly Chinese Painters －T'ang, Sung, and Yuan (Berkeley & Los Angeles: University of California Press, 1980), p.60.\r\n註2：國立故宮博物院編，《故宮名畫三百種》（臺北：國立故宮博物院，1959），第二冊，頁54。\r\n註3：「鋪殿花」：「江南徐熙輩，有於雙縑幅素上畫叢艷疊石，傍出藥苗，雜以禽鳥蜂蟬之妙，乃是供李主宮中挂設之具，謂之鋪殿花。次曰裝堂花，意在位置端莊，駢羅整肅，多不取生意自然之態，故觀者往往不甚采鑒。」郭若虛，《圖畫見聞誌》卷六，收錄於《畫史叢書》（臺北：文史哲出版社，1974），第一冊，頁238。",
|
| 206 |
+
"參考書目": "1.〈宋趙昌歲朝圖〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁215。\r\n2.劉芳如，〈宋趙昌歲朝圖〉，收入國立故宮博物院編輯委員會編，《畫梅名品特展》（臺北：國立故宮博物院，1991年元月初版），頁79。\r\n3.劉芳如，〈中國古畫裡的草蟲世界 — 「草蟲天地」特展介紹（上）〉，《故宮文物月刊》，第220期（2001年7月），頁7。\r\n4.〈宋趙昌歲朝圖 軸〉，收入譚怡令、劉芳如、林莉娜主編，《滿庭芳-歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁174-175。 \r\n5.陳昱全，〈傳趙昌〈歲朝圖〉與「舖殿花」〉，《故宮文物月刊》，第337期（2011年4月），頁48-57。"
|
| 207 |
+
},
|
| 208 |
+
"保存維護": {
|
| 209 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 210 |
+
"相關連結": [
|
| 211 |
+
{
|
| 212 |
+
"文本": "抽盤點紀錄",
|
| 213 |
+
"onclick": "Invertory('故畫000049N000000000')"
|
| 214 |
+
},
|
| 215 |
+
{
|
| 216 |
+
"文本": "修護紀錄",
|
| 217 |
+
"onclick": "Repair('故畫000049N000000000')"
|
| 218 |
+
}
|
| 219 |
+
]
|
| 220 |
+
}
|
| 221 |
+
}
|
data/artifact_1229.json
ADDED
|
@@ -0,0 +1,296 @@
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|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1229",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1229?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋燕文貴溪山樓觀 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000043N000000000",
|
| 7 |
+
"作品號": "故畫00004300000",
|
| 8 |
+
"品名": "宋燕文貴溪山樓觀 軸\nBuildings Among Mountains and Streams",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "燕文貴,Yan Wengui",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "103.9x47.4"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "燕文貴",
|
| 29 |
+
"位置": "",
|
| 30 |
+
"款識": "翰林待詔燕文貴筆",
|
| 31 |
+
"書體": "",
|
| 32 |
+
"全文": ""
|
| 33 |
+
},
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "題籤",
|
| 36 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 37 |
+
"位置": "",
|
| 38 |
+
"款識": "",
|
| 39 |
+
"書體": "",
|
| 40 |
+
"全文": "燕文貴溪山樓觀圖。神品。",
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印主": "清高宗",
|
| 44 |
+
"印記": "乾隆宸翰"
|
| 45 |
+
}
|
| 46 |
+
]
|
| 47 |
+
},
|
| 48 |
+
{
|
| 49 |
+
"題跋類別": "題跋",
|
| 50 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 51 |
+
"位置": "本幅",
|
| 52 |
+
"款識": "戊辰（西元一七四八年）新秋月上澣御題",
|
| 53 |
+
"書體": "行書",
|
| 54 |
+
"全文": "崇臺百丈計延袤。更占溪山景最幽。名匪方壺定員嶠。居宜黃石與丹邱。樹無秋夏雲常綠。瀑任冬春玉鎮流。誰入維摩居士室。畫禪一脈此中留。戊辰（西元一七四八年）新秋月上澣御題。",
|
| 55 |
+
"印記資料": [
|
| 56 |
+
{
|
| 57 |
+
"印主": "清高宗",
|
| 58 |
+
"印記": "乾"
|
| 59 |
+
},
|
| 60 |
+
{
|
| 61 |
+
"印主": "清高宗",
|
| 62 |
+
"印記": "隆"
|
| 63 |
+
}
|
| 64 |
+
]
|
| 65 |
+
}
|
| 66 |
+
],
|
| 67 |
+
"印記資料": [
|
| 68 |
+
{
|
| 69 |
+
"印記類別": "收傳印記",
|
| 70 |
+
"印主": "明內府印",
|
| 71 |
+
"印記": "司印（半印）"
|
| 72 |
+
},
|
| 73 |
+
{
|
| 74 |
+
"印記類別": "收傳印記",
|
| 75 |
+
"印主": "安岐",
|
| 76 |
+
"印記": "安儀周家珍藏"
|
| 77 |
+
},
|
| 78 |
+
{
|
| 79 |
+
"印記類別": "收傳印記",
|
| 80 |
+
"印主": "梁清標",
|
| 81 |
+
"印記": "棠村審定"
|
| 82 |
+
},
|
| 83 |
+
{
|
| 84 |
+
"印記類別": "收傳印記",
|
| 85 |
+
"印主": "梁清標",
|
| 86 |
+
"印記": "蒼巖"
|
| 87 |
+
},
|
| 88 |
+
{
|
| 89 |
+
"印記類別": "收傳印記",
|
| 90 |
+
"印主": "",
|
| 91 |
+
"印記": "蔣子厚氏怡閣"
|
| 92 |
+
},
|
| 93 |
+
{
|
| 94 |
+
"印記類別": "收傳印記",
|
| 95 |
+
"印主": "",
|
| 96 |
+
"印記": "蹔得於己快然自足"
|
| 97 |
+
},
|
| 98 |
+
{
|
| 99 |
+
"印記類別": "鑑藏寶璽",
|
| 100 |
+
"印主": "清高宗",
|
| 101 |
+
"印記": "三希堂精鑑璽"
|
| 102 |
+
},
|
| 103 |
+
{
|
| 104 |
+
"印記類別": "鑑藏寶璽",
|
| 105 |
+
"印主": "清高宗",
|
| 106 |
+
"印記": "古希天子"
|
| 107 |
+
},
|
| 108 |
+
{
|
| 109 |
+
"印記類別": "鑑藏寶璽",
|
| 110 |
+
"印主": "清高宗",
|
| 111 |
+
"印記": "石渠定鑑"
|
| 112 |
+
},
|
| 113 |
+
{
|
| 114 |
+
"印記類別": "鑑藏寶璽",
|
| 115 |
+
"印主": "清高宗",
|
| 116 |
+
"印記": "石渠寶笈"
|
| 117 |
+
},
|
| 118 |
+
{
|
| 119 |
+
"印記類別": "鑑藏寶璽",
|
| 120 |
+
"印主": "清高宗",
|
| 121 |
+
"印記": "宜子孫"
|
| 122 |
+
},
|
| 123 |
+
{
|
| 124 |
+
"印記類別": "鑑藏寶璽",
|
| 125 |
+
"印主": "宣統帝",
|
| 126 |
+
"印記": "宣統御覽之寶"
|
| 127 |
+
},
|
| 128 |
+
{
|
| 129 |
+
"印記類別": "鑑藏寶璽",
|
| 130 |
+
"印主": "宣統帝",
|
| 131 |
+
"印記": "宣統鑑賞"
|
| 132 |
+
},
|
| 133 |
+
{
|
| 134 |
+
"印記類別": "鑑藏寶璽",
|
| 135 |
+
"印主": "清高宗",
|
| 136 |
+
"印記": "乾隆御覽之寶"
|
| 137 |
+
},
|
| 138 |
+
{
|
| 139 |
+
"印記類別": "鑑藏寶璽",
|
| 140 |
+
"印主": "清高宗",
|
| 141 |
+
"印記": "乾隆鑑賞"
|
| 142 |
+
},
|
| 143 |
+
{
|
| 144 |
+
"印記類別": "鑑藏寶璽",
|
| 145 |
+
"印主": "宣統帝",
|
| 146 |
+
"印記": "無逸齋精鑒璽"
|
| 147 |
+
},
|
| 148 |
+
{
|
| 149 |
+
"印記類別": "鑑藏寶璽",
|
| 150 |
+
"印主": "清高宗",
|
| 151 |
+
"印記": "壽"
|
| 152 |
+
},
|
| 153 |
+
{
|
| 154 |
+
"印記類別": "鑑藏寶璽",
|
| 155 |
+
"印主": "清高宗",
|
| 156 |
+
"印記": "寧壽宮續入石渠寶笈"
|
| 157 |
+
},
|
| 158 |
+
{
|
| 159 |
+
"印記類別": "鑑藏寶璽",
|
| 160 |
+
"印主": "清高宗",
|
| 161 |
+
"印記": "樂壽堂鑒藏寶"
|
| 162 |
+
},
|
| 163 |
+
{
|
| 164 |
+
"印記類別": "鑑藏寶璽",
|
| 165 |
+
"��主": "清高宗",
|
| 166 |
+
"印記": "寶笈重編"
|
| 167 |
+
}
|
| 168 |
+
],
|
| 169 |
+
"主題": [
|
| 170 |
+
{
|
| 171 |
+
"主題類別": "主要主題",
|
| 172 |
+
"主題(第一層)": "山水",
|
| 173 |
+
"主題(第二層)": "",
|
| 174 |
+
"主題說明": ""
|
| 175 |
+
},
|
| 176 |
+
{
|
| 177 |
+
"主題類別": "其他主題",
|
| 178 |
+
"主題(第一層)": "人物",
|
| 179 |
+
"主題(第二層)": "行旅",
|
| 180 |
+
"主題說明": ""
|
| 181 |
+
},
|
| 182 |
+
{
|
| 183 |
+
"主題類別": "其他主題",
|
| 184 |
+
"主題(第一層)": "人物",
|
| 185 |
+
"主題(第二層)": "侍從（侍女、童僕）",
|
| 186 |
+
"主題說明": ""
|
| 187 |
+
},
|
| 188 |
+
{
|
| 189 |
+
"主題類別": "其他主題",
|
| 190 |
+
"主題(第一層)": "人物",
|
| 191 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 192 |
+
"主題說明": ""
|
| 193 |
+
},
|
| 194 |
+
{
|
| 195 |
+
"主題類別": "其他主題",
|
| 196 |
+
"主題(第一層)": "山水",
|
| 197 |
+
"主題(第二層)": "山徑",
|
| 198 |
+
"主題說明": ""
|
| 199 |
+
},
|
| 200 |
+
{
|
| 201 |
+
"主題類別": "其他主題",
|
| 202 |
+
"主題(第一層)": "山水",
|
| 203 |
+
"主題(第二層)": "石磴、棧道",
|
| 204 |
+
"主題說明": "棧道"
|
| 205 |
+
},
|
| 206 |
+
{
|
| 207 |
+
"主題類別": "其他主題",
|
| 208 |
+
"主題(第一層)": "山水",
|
| 209 |
+
"主題(第二層)": "江河、湖海",
|
| 210 |
+
"主題說明": ""
|
| 211 |
+
},
|
| 212 |
+
{
|
| 213 |
+
"主題類別": "其他主題",
|
| 214 |
+
"主題(第一層)": "山水",
|
| 215 |
+
"主題(第二層)": "瀑布",
|
| 216 |
+
"主題說明": ""
|
| 217 |
+
},
|
| 218 |
+
{
|
| 219 |
+
"主題類別": "其他主題",
|
| 220 |
+
"主題(第一層)": "走獸",
|
| 221 |
+
"主題(第二層)": "騾．驢",
|
| 222 |
+
"主題說明": ""
|
| 223 |
+
},
|
| 224 |
+
{
|
| 225 |
+
"主題類別": "其他主題",
|
| 226 |
+
"主題(第一層)": "建築",
|
| 227 |
+
"主題(第二層)": "水榭",
|
| 228 |
+
"主題說明": ""
|
| 229 |
+
},
|
| 230 |
+
{
|
| 231 |
+
"主題類別": "其他主題",
|
| 232 |
+
"主題(第一層)": "建築",
|
| 233 |
+
"主題(第二層)": "房舍",
|
| 234 |
+
"主題說明": ""
|
| 235 |
+
},
|
| 236 |
+
{
|
| 237 |
+
"主題類別": "其他主題",
|
| 238 |
+
"主題(第一層)": "建築",
|
| 239 |
+
"主題(第二層)": "臺閣",
|
| 240 |
+
"主題說明": ""
|
| 241 |
+
},
|
| 242 |
+
{
|
| 243 |
+
"主題類別": "其他主題",
|
| 244 |
+
"主題(第一層)": "建築",
|
| 245 |
+
"主題(第二層)": "欄杆",
|
| 246 |
+
"主題說明": ""
|
| 247 |
+
},
|
| 248 |
+
{
|
| 249 |
+
"主題類別": "其他主題",
|
| 250 |
+
"主題(第一層)": "樹木",
|
| 251 |
+
"主題(第二層)": "",
|
| 252 |
+
"主題說明": ""
|
| 253 |
+
}
|
| 254 |
+
],
|
| 255 |
+
"技法": [
|
| 256 |
+
{
|
| 257 |
+
"技法": "皴法",
|
| 258 |
+
"技法細目": "雨點皴"
|
| 259 |
+
}
|
| 260 |
+
],
|
| 261 |
+
"參考資料": {
|
| 262 |
+
"內容簡介": [
|
| 263 |
+
"燕文貴（活動於西元10世紀－11世紀初），浙江吳興人，仁宗時畫院待詔。山水多作巨嶂高壁，人物、樓觀布置精巧，所作山水，細密清潤，富有變化，自成一家，人稱「燕家景致」。本幅畫溪山飛瀑，層巖樓觀，高出雲端。右方石壁上，有小字款署「翰林待詔燕文貴筆」，以粗重抖動之線條畫出山形輪廓，再用近似雨點的皴法，層層描寫山石的質感與量感，山谷以淡墨擦染出空氣明晦之效果，筆法細密，皆能代表燕文貴風格之特色，然此幅用筆較圓轉婉潤，與其較挺勁方折之用筆不同，當係12、13世紀間，燕文貴一系風格之衍流。",
|
| 264 |
+
"燕文貴（活動於十世紀下半至十一世紀初），浙江吳興人。原為軍人，退伍後住在京師，被畫院待詔高益所發掘，進入畫院任職。他善畫山水、人物、舟車，繪山水常作高峰巨巖，其中的人物與樓觀細緻精巧，此類作品遂被稱為「燕家景」。 本幅畫溪流之畔，崇山峻嶺由近而遠層層堆高，山體的輪廓線濃重，以細小皴點填布石面，山巒錯落相疊，其間以飛瀑與蜿蜒山徑前後連結，營造畫面的空間深度。山頂灌木叢生，山谷中則有重樓、院落與行旅散列其間。屋宇和人物的比例雖小，描繪卻精細工整，一絲不苟，這正是「燕家景致」最典型的特色。 (馬孟晶)",
|
| 265 |
+
"燕文貴（活動於十世紀後半－十一世紀前半），浙江吳興人，仁宗時畫院待詔。山水多作巨嶂高壁，人物、樓觀布置精巧，所作山水，細密清潤，富有變化，自成一家，人稱「燕家景致」。 本幅畫溪山飛瀑，層巖樓觀，高出雲端。右方石壁上，有小字款署「翰林待詔燕文貴筆」，以粗重抖動之線條畫出山形輪廓，再用近似雨點的皴法，層層描寫山石的質感與量感，山谷以淡墨擦染出空氣明晦之效果，筆法細密，皆能代表燕文貴風格之特色，然此幅用筆較圓轉婉潤，與其較挺勁方折之用筆不同，當���十二、三世紀間，燕文貴一系風格之衍流。(20061206)"
|
| 266 |
+
],
|
| 267 |
+
"Description": "Yen Wen-kuei, a native of Wu-hsing in Chekiang, served as a Painter-in-Attendance in the Painting Academy under Emperor Jen-tsung. In landscape painting, he mostly rendered massive peaks and lofty cliffs, his arrangement of figures and buildings being quite skillful. His landscapes were pure and delicate with great variation. Forming a style of his own, it was called “Pleasing Scenery of the Yen Family”. This painting depicts cascading waterfalls among mountains by water with clusters of buildings tucked among the ridges piercing the mists below. On a cliff face to the right is a signature in small characters reading, “Brushed by the Hanlin Painter-in-Attendance Yen Wen-kuei”. Tremulous lines using coarse brushwork outline the mountain forms, and a layered texturing method similar to that of raindrops was used to render the volume and texture of the mountains. Valleys were done with washes of light ink to create the effect of brilliance in the air. These features and the fine brushwork all relate to the style of Yen Wen-kuei. However, the brushwork is more rounded and gentle, differing from Yen's bolder and more angular brushwork. The style here places it in the 12th or 13th century, representing the evolution of Yen Wen-kuei’s style.(20061206)",
|
| 268 |
+
"網頁展示說明": [
|
| 269 |
+
"燕文貴（活動於十世紀後半－十一世紀前半），浙江吳興人，仁宗時畫院待詔。山水多作巨嶂高壁，樓觀布置精巧，山水細密清潤。本幅畫溪山飛瀑，層巖樓觀。左方石壁上款署「翰林待詔燕文貴筆」，以粗重抖動之線條畫出山形輪廓，山谷以淡墨擦染出空氣明晦之效果，筆法細密，皆能代表燕文貴風格特色，然用筆較圓轉婉潤，與其較挺勁方折用筆不同，當係十二、三世紀間，燕文貴風格之衍流。(20120103)",
|
| 270 |
+
"Yan Wengui, native to Wuxing in Zhejiang, was a Painter-in-Attendance at the Painting Academy under Emperor Renzong. His landscapes for the most part feature huge peaks and lofty cliffs with buildings skillfully arranged, creating landscapes both delicate and pure.\r\nThis painting depicts peaks and streams with a cascade and buildings among layered crags. The stone face on the left bears a signature for \"Brushed by Hanlin Painter-in-Attendance Yan Wengui.\" Coarse, trembling lines render the outlines of peaks, the valleys in light ink creating a bright atmosphere. The brushwork is also fine and dense, reflecting Yan Wengui's style. The brushwork, though, is rounded and graceful, differing from the strong, angular style of other works associated with him. From perhaps the 12th or 13th century, this painting derives from Yan's style. \r\n(20120103)",
|
| 271 |
+
"燕文貴（10世紀後半-11世紀前半に活動）、浙江吳興の人、仁宗時代の畫院待詔。巨大な岩壁が高く聳える風景を多く描いた。建物は巧みに配され、細密に描かれた山水には清らかな潤いがある。本作には山々と渓流、水しぶきをあげて流れ落ちる瀑布、壯観な建物が描かれている。左側の岩壁に署款「翰林待詔燕文貴筆」がある。重厚な太い線で描かれた山の輪郭線にはふるえがある。山谷は淡墨を用いて空間の明暗を描き出しており、細密な筆法など、いずれも燕文貴の畫風の特色であるが、用筆にはやや丸みと柔らかさがあり、燕文貴の力強く角張った用筆とは異なっている。12、13世紀に描かれた、燕文貴の流れを汲む作品である。(20120103)"
|
| 272 |
+
],
|
| 273 |
+
"參考書目": [
|
| 274 |
+
"童文娥，〈宋燕文貴溪山樓觀 軸〉，收入劉芳如主編《遺珠-大阪市立美術館珍藏書畫》（臺北：國立故宮博物院，2021.08），頁54-57、263-264。",
|
| 275 |
+
"1.陳韻如，〈宋燕文貴溪山樓觀 軸〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁246-251。\r\n2.馬孟晶，〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(四) — 繪畫〉，《故宮文物月刊》，第247期（2003年10月），頁20。\r\n3.小川裕充，〈從燕文貴作品中的透視遠近法看中國山水畫透視遠近法之成立〉，《故宮學術季刊》，第二十三卷第一期（2005年秋），頁241-266。"
|
| 276 |
+
],
|
| 277 |
+
"收藏著錄": [
|
| 278 |
+
"石渠寶笈續編（寧壽宮），第五冊，頁2673",
|
| 279 |
+
"故宮書畫錄（卷五），第三冊，頁45",
|
| 280 |
+
"故宮書畫圖錄，第一冊，頁179-180"
|
| 281 |
+
]
|
| 282 |
+
},
|
| 283 |
+
"保存維護": {
|
| 284 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 285 |
+
"相關連結": [
|
| 286 |
+
{
|
| 287 |
+
"文本": "抽盤點紀錄",
|
| 288 |
+
"onclick": "Invertory('故畫000043N000000000')"
|
| 289 |
+
},
|
| 290 |
+
{
|
| 291 |
+
"文本": "修護紀錄",
|
| 292 |
+
"onclick": "Repair('故畫000043N000000000')"
|
| 293 |
+
}
|
| 294 |
+
]
|
| 295 |
+
}
|
| 296 |
+
}
|
data/artifact_1233.json
ADDED
|
@@ -0,0 +1,227 @@
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|
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|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
|
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|
|
|
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|
|
|
|
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|
|
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|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1233",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1233?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋夏珪山水 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000124N000000000",
|
| 7 |
+
"作品號": "故畫00012400000",
|
| 8 |
+
"品名": "宋夏珪山水 軸\nLandscape",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "夏珪,Xia Gui",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "47.6x32.5"
|
| 17 |
+
},
|
| 18 |
+
{
|
| 19 |
+
"位置": "詩塘",
|
| 20 |
+
"尺寸(公分)": "28x32.6"
|
| 21 |
+
}
|
| 22 |
+
],
|
| 23 |
+
"質地": [
|
| 24 |
+
{
|
| 25 |
+
"質地位置": "詩塘",
|
| 26 |
+
"質地": "紙"
|
| 27 |
+
},
|
| 28 |
+
{
|
| 29 |
+
"質地位置": "本幅",
|
| 30 |
+
"質地": "絹"
|
| 31 |
+
}
|
| 32 |
+
],
|
| 33 |
+
"題跋資料": [
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "題跋",
|
| 36 |
+
"作者": "王鐸\n印記\nexpand_more",
|
| 37 |
+
"位置": "本幅",
|
| 38 |
+
"款識": "王鐸鑒定",
|
| 39 |
+
"書體": "",
|
| 40 |
+
"全文": "夏珪。王鐸鑒定。",
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印主": "王鐸",
|
| 44 |
+
"印記": "鐸"
|
| 45 |
+
}
|
| 46 |
+
]
|
| 47 |
+
},
|
| 48 |
+
{
|
| 49 |
+
"題跋類別": "題跋",
|
| 50 |
+
"作者": "王鐸\n印記\nexpand_more",
|
| 51 |
+
"位置": "詩塘",
|
| 52 |
+
"款識": "王鐸",
|
| 53 |
+
"書體": "",
|
| 54 |
+
"全文": "老幹不事纖細小巧。骨格堅凝韶秀。有大家氣。即此一畫。雪色蒙晦。石寒鐵色。噫。陰晴不可知。有天道寓于中。謂畫者果無意歟。夏圭錢塘人。寧宗時擅名。師范寬李唐。罕有其儷。凡以觕糲冒圭者非其真也。丙戌三月時居燕。為二弟仲和題。王鐸。",
|
| 55 |
+
"印記資料": [
|
| 56 |
+
{
|
| 57 |
+
"印主": "王鐸",
|
| 58 |
+
"印記": "鐸"
|
| 59 |
+
}
|
| 60 |
+
]
|
| 61 |
+
}
|
| 62 |
+
],
|
| 63 |
+
"印記資料": [
|
| 64 |
+
{
|
| 65 |
+
"印記類別": "收傳印記",
|
| 66 |
+
"印主": "卞永譽",
|
| 67 |
+
"印記": "卞令之鑑定"
|
| 68 |
+
},
|
| 69 |
+
{
|
| 70 |
+
"印記類別": "收傳印記",
|
| 71 |
+
"印主": "",
|
| 72 |
+
"印記": "王氏鏞"
|
| 73 |
+
},
|
| 74 |
+
{
|
| 75 |
+
"印記類別": "收傳印記",
|
| 76 |
+
"印主": "",
|
| 77 |
+
"印記": "仲和珍藏"
|
| 78 |
+
},
|
| 79 |
+
{
|
| 80 |
+
"印記類別": "收傳印記",
|
| 81 |
+
"印主": "卞永譽",
|
| 82 |
+
"印記": "式古堂書畫印"
|
| 83 |
+
},
|
| 84 |
+
{
|
| 85 |
+
"印記類別": "鑑藏寶璽",
|
| 86 |
+
"印主": "清高宗",
|
| 87 |
+
"印記": "三希堂精鑑璽"
|
| 88 |
+
},
|
| 89 |
+
{
|
| 90 |
+
"印記類別": "鑑藏寶璽",
|
| 91 |
+
"印主": "清高宗",
|
| 92 |
+
"印記": "石渠寶笈"
|
| 93 |
+
},
|
| 94 |
+
{
|
| 95 |
+
"印記類別": "鑑藏寶璽",
|
| 96 |
+
"印主": "清高宗",
|
| 97 |
+
"印記": "宜子孫"
|
| 98 |
+
},
|
| 99 |
+
{
|
| 100 |
+
"印記類別": "鑑藏寶璽",
|
| 101 |
+
"印主": "宣統帝",
|
| 102 |
+
"印記": "宣統御覽之寶"
|
| 103 |
+
},
|
| 104 |
+
{
|
| 105 |
+
"印記類別": "鑑藏寶璽",
|
| 106 |
+
"印主": "宣統帝",
|
| 107 |
+
"印記": "宣統鑑賞"
|
| 108 |
+
},
|
| 109 |
+
{
|
| 110 |
+
"印記類別": "鑑藏寶璽",
|
| 111 |
+
"印主": "清高宗",
|
| 112 |
+
"印記": "乾隆御覽之寶"
|
| 113 |
+
},
|
| 114 |
+
{
|
| 115 |
+
"印記類別": "鑑藏寶璽",
|
| 116 |
+
"印主": "清高宗",
|
| 117 |
+
"印記": "乾隆鑑賞"
|
| 118 |
+
},
|
| 119 |
+
{
|
| 120 |
+
"印記類別": "鑑藏寶璽",
|
| 121 |
+
"印主": "宣統帝",
|
| 122 |
+
"印記": "無逸齋精鑑璽"
|
| 123 |
+
}
|
| 124 |
+
],
|
| 125 |
+
"主題": [
|
| 126 |
+
{
|
| 127 |
+
"主題類別": "主要主題",
|
| 128 |
+
"主題(第一層)": "山水",
|
| 129 |
+
"主題(第二層)": "冬景（雪景）",
|
| 130 |
+
"主題說明": ""
|
| 131 |
+
},
|
| 132 |
+
{
|
| 133 |
+
"主題類別": "其他主題",
|
| 134 |
+
"主題(第一層)": "人物",
|
| 135 |
+
"主題(第二層)": "百姓",
|
| 136 |
+
"主題說明": ""
|
| 137 |
+
},
|
| 138 |
+
{
|
| 139 |
+
"主題類別": "其他主題",
|
| 140 |
+
"主題(第一層)": "人物",
|
| 141 |
+
"主題(第二層)": "漁夫、船夫",
|
| 142 |
+
"主題說明": ""
|
| 143 |
+
},
|
| 144 |
+
{
|
| 145 |
+
"主題類別": "其他主題",
|
| 146 |
+
"主題(第一層)": "山水",
|
| 147 |
+
"主題(第二層)": "江河、湖海",
|
| 148 |
+
"主題說明": ""
|
| 149 |
+
},
|
| 150 |
+
{
|
| 151 |
+
"主題類別": "其他主題",
|
| 152 |
+
"主題(第一層)": "山水",
|
| 153 |
+
"主題(第二層)": "瀑布",
|
| 154 |
+
"主題說明": ""
|
| 155 |
+
},
|
| 156 |
+
{
|
| 157 |
+
"主題類別": "其他主題",
|
| 158 |
+
"主題(第一層)": "花草",
|
| 159 |
+
"主題(第二層)": "蘆葦",
|
| 160 |
+
"主題說明": ""
|
| 161 |
+
},
|
| 162 |
+
{
|
| 163 |
+
"主題類別": "其他主題",
|
| 164 |
+
"主題(第一層)": "建築",
|
| 165 |
+
"��題(第二層)": "茅草屋",
|
| 166 |
+
"主題說明": ""
|
| 167 |
+
},
|
| 168 |
+
{
|
| 169 |
+
"主題類別": "其他主題",
|
| 170 |
+
"主題(第一層)": "建築",
|
| 171 |
+
"主題(第二層)": "臺閣",
|
| 172 |
+
"主題說明": ""
|
| 173 |
+
},
|
| 174 |
+
{
|
| 175 |
+
"主題類別": "其他主題",
|
| 176 |
+
"主題(第一層)": "船",
|
| 177 |
+
"主題(第二層)": "漁船",
|
| 178 |
+
"主題說明": ""
|
| 179 |
+
},
|
| 180 |
+
{
|
| 181 |
+
"主題類別": "其他主題",
|
| 182 |
+
"主題(第一層)": "樹木",
|
| 183 |
+
"主題(第二層)": "",
|
| 184 |
+
"主題說明": ""
|
| 185 |
+
},
|
| 186 |
+
{
|
| 187 |
+
"主題類別": "其他主題",
|
| 188 |
+
"主題(第一層)": "樹木",
|
| 189 |
+
"主題(第二層)": "竹",
|
| 190 |
+
"主題說明": ""
|
| 191 |
+
}
|
| 192 |
+
],
|
| 193 |
+
"技法": [
|
| 194 |
+
{
|
| 195 |
+
"技法": "皴法",
|
| 196 |
+
"技法細目": "斧劈皴"
|
| 197 |
+
}
|
| 198 |
+
],
|
| 199 |
+
"參考資料": {
|
| 200 |
+
"內容簡介": [
|
| 201 |
+
"畫山居悠然閒靜之狀，遠山巒峰高聳，瀑泉直瀉而下，軒舍散落，雅士、樵者步行其中。全幅筆墨濃淡有致，林木丘壑明暗對比清楚。\r\n 此幅未見畫家落款簽名，據舊傳原籤題作夏珪。按夏珪，字禹玉，錢塘人。南宋寧宗、理宗時任職畫院。擅畫山水、人物，與馬遠齊名，時稱「馬夏」。然此圖山林坡石之佈局與筆墨技法，已現明代浙派作風。",
|
| 202 |
+
"畫山居悠然閒靜之狀，遠山巒峰高聳，瀑泉直瀉而下，軒舍散落，雅士、樵者步行其中。全幅筆墨濃淡有致，林木丘壑明暗對比清楚。本幅未見畫家落款簽名，根據原籤，定名夏珪。然此幀山林坡石之布局與淋漓的筆墨，已展現明代浙派作風，當為後人偽託之作。\r\n夏珪（活動於13世紀前半），字禹玉，錢塘人。南宋寧宗、理宗時任職畫院。擅畫山水、人物，與馬遠齊名，時稱「馬夏」。\r\n(20110913)"
|
| 203 |
+
],
|
| 204 |
+
"Description": [
|
| 205 |
+
"In this work is a mountain dwelling in a serene foreground setting. The peaks in the distance stand upright with a waterfall to one side. Buildings appear scattered through the middle ground along with woodcutters as scholars make their way in the foreground. The work features extremes of light and dark ink with brushwork that creates for a strong yet clear contrast between the woods and hills. This work bears neither seal nor signature of the artist but was attributed in the title label to Xia Gui. The composition of mountain forests and slope rocks along with the wet and quick brushwork here already reveals the Zhe School style from the Ming dynasty, suggesting this is a spurious attribution by a later person.\r\nXia Gui (style name Yuyu), a native of Qiantang, served the Painting Academy during the reigns of Emperors Ningzong and Lizong in the Southern Song. Specializing in landscapes and figures, his fame equaled that of Ma Yuan, and they were known as “Ma-Xia.”\r\n(20110913)",
|
| 206 |
+
"In this work is a mountain dwelling in a serene foreground setting. The peaks in the distance stand out upright with a waterfall to one side. Buildings appear scattered through the middle ground along with woodcutters as scholars make their way in the foreground. The work features extremes of light and dark ink and brushwork to create for a strong yet clear contrast between the woods and hills.\r\n\tThis work bears neither seal nor signature of the artist but was attributed to Hsia Kuei. Specializing in landscapes and figures, his fame equaled that of Ma Yuan, and they were known as “Ma-Hsia.”The composition and brushwork of this work reveals the Che School style of the Ming dynasty (1368-1644)."
|
| 207 |
+
],
|
| 208 |
+
"收藏著錄": [
|
| 209 |
+
"故宮書畫錄（卷五），第三冊，頁106",
|
| 210 |
+
"故宮書畫圖錄，第二冊，頁209-210"
|
| 211 |
+
],
|
| 212 |
+
"參考書目": "劉芳如，〈宋夏珪山水 軸〉，收入《典範與流傳-范寬及其傳派》（臺北：國立故宮博物院，2015.07），頁166-171、337。"
|
| 213 |
+
},
|
| 214 |
+
"保存維護": {
|
| 215 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 216 |
+
"相關連結": [
|
| 217 |
+
{
|
| 218 |
+
"文本": "抽盤點紀錄",
|
| 219 |
+
"onclick": "Invertory('故畫000124N000000000')"
|
| 220 |
+
},
|
| 221 |
+
{
|
| 222 |
+
"文本": "修護紀錄",
|
| 223 |
+
"onclick": "Repair('故畫000124N000000000')"
|
| 224 |
+
}
|
| 225 |
+
]
|
| 226 |
+
}
|
| 227 |
+
}
|
data/artifact_1244.json
ADDED
|
@@ -0,0 +1,224 @@
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|
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|
|
|
|
|
|
|
|
|
|
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|
|
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|
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|
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|
|
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|
|
|
|
|
|
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|
|
|
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|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1244",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1244?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋梁楷東籬高士圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000127N000000000",
|
| 7 |
+
"作品號": "故畫00012700000",
|
| 8 |
+
"品名": "宋梁楷東籬高士圖 軸\nGentleman of the Eastern Fence",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "梁楷,Liang Kai",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "71.5x36.7"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "梁楷",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "梁楷",
|
| 31 |
+
"書體": "行書",
|
| 32 |
+
"全文": ""
|
| 33 |
+
}
|
| 34 |
+
],
|
| 35 |
+
"印記資料": [
|
| 36 |
+
{
|
| 37 |
+
"印記類別": "收傳印記",
|
| 38 |
+
"印主": "項元汴",
|
| 39 |
+
"印記": "子孫永保"
|
| 40 |
+
},
|
| 41 |
+
{
|
| 42 |
+
"印記類別": "收傳印記",
|
| 43 |
+
"印主": "",
|
| 44 |
+
"印記": "公貞"
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"印記類別": "收傳印記",
|
| 48 |
+
"印主": "項元汴",
|
| 49 |
+
"印記": "天籟閣"
|
| 50 |
+
},
|
| 51 |
+
{
|
| 52 |
+
"印記類別": "收傳印記",
|
| 53 |
+
"印主": "",
|
| 54 |
+
"印記": "吳于庭玄賞印"
|
| 55 |
+
},
|
| 56 |
+
{
|
| 57 |
+
"印記類別": "收傳印記",
|
| 58 |
+
"印主": "",
|
| 59 |
+
"印記": "吳氏公一"
|
| 60 |
+
},
|
| 61 |
+
{
|
| 62 |
+
"印記類別": "收傳印記",
|
| 63 |
+
"印主": "李芳",
|
| 64 |
+
"印記": "李繼泉真賞章"
|
| 65 |
+
},
|
| 66 |
+
{
|
| 67 |
+
"印記類別": "收傳印記",
|
| 68 |
+
"印主": "",
|
| 69 |
+
"印記": "其貞"
|
| 70 |
+
},
|
| 71 |
+
{
|
| 72 |
+
"印記類別": "收傳印記",
|
| 73 |
+
"印主": "項元汴",
|
| 74 |
+
"印記": "神品"
|
| 75 |
+
},
|
| 76 |
+
{
|
| 77 |
+
"印記類別": "收傳印記",
|
| 78 |
+
"印主": "張鏐",
|
| 79 |
+
"印記": "張鏐"
|
| 80 |
+
},
|
| 81 |
+
{
|
| 82 |
+
"印記類別": "收傳印記",
|
| 83 |
+
"印主": "項元汴",
|
| 84 |
+
"印記": "項子京家珍藏"
|
| 85 |
+
},
|
| 86 |
+
{
|
| 87 |
+
"印記類別": "收傳印記",
|
| 88 |
+
"印主": "項元汴",
|
| 89 |
+
"印記": "項元汴印"
|
| 90 |
+
},
|
| 91 |
+
{
|
| 92 |
+
"印記類別": "收傳印記",
|
| 93 |
+
"印主": "項元汴",
|
| 94 |
+
"印記": "項墨林鑑賞章"
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"印記類別": "收傳印記",
|
| 98 |
+
"印主": "梁清標",
|
| 99 |
+
"印記": "蒼巖"
|
| 100 |
+
},
|
| 101 |
+
{
|
| 102 |
+
"印記類別": "收傳印記",
|
| 103 |
+
"印主": "項元汴",
|
| 104 |
+
"印記": "墨林山人"
|
| 105 |
+
},
|
| 106 |
+
{
|
| 107 |
+
"印記類別": "收傳印記",
|
| 108 |
+
"印主": "梁清標",
|
| 109 |
+
"印記": "蕉林居士"
|
| 110 |
+
},
|
| 111 |
+
{
|
| 112 |
+
"印記類別": "鑑藏寶璽",
|
| 113 |
+
"印主": "清高宗",
|
| 114 |
+
"印記": "三希堂精鑑璽"
|
| 115 |
+
},
|
| 116 |
+
{
|
| 117 |
+
"印記類別": "鑑藏寶璽",
|
| 118 |
+
"印主": "清高宗",
|
| 119 |
+
"印記": "石渠寶笈"
|
| 120 |
+
},
|
| 121 |
+
{
|
| 122 |
+
"印記類別": "鑑藏寶璽",
|
| 123 |
+
"印主": "清高宗",
|
| 124 |
+
"印記": "宜子孫"
|
| 125 |
+
},
|
| 126 |
+
{
|
| 127 |
+
"印記類別": "鑑藏寶璽",
|
| 128 |
+
"印主": "宣統帝",
|
| 129 |
+
"印記": "宣統御覽之寶"
|
| 130 |
+
},
|
| 131 |
+
{
|
| 132 |
+
"印記類別": "鑑藏寶璽",
|
| 133 |
+
"印主": "清高宗",
|
| 134 |
+
"印記": "乾隆御覽之寶"
|
| 135 |
+
},
|
| 136 |
+
{
|
| 137 |
+
"印記類別": "鑑藏寶璽",
|
| 138 |
+
"印主": "清高宗",
|
| 139 |
+
"印記": "乾隆鑑賞"
|
| 140 |
+
}
|
| 141 |
+
],
|
| 142 |
+
"主題": [
|
| 143 |
+
{
|
| 144 |
+
"主題類別": "主要主題",
|
| 145 |
+
"主題(第一層)": "人物",
|
| 146 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 147 |
+
"主題說明": ""
|
| 148 |
+
},
|
| 149 |
+
{
|
| 150 |
+
"主題類別": "主要主題",
|
| 151 |
+
"主題(第一層)": "山水",
|
| 152 |
+
"主題(第二層)": "",
|
| 153 |
+
"主題說明": ""
|
| 154 |
+
},
|
| 155 |
+
{
|
| 156 |
+
"主題類別": "其他主題",
|
| 157 |
+
"主題(第一層)": "山水",
|
| 158 |
+
"主題(第二層)": "溪澗、湍泉",
|
| 159 |
+
"主題說明": ""
|
| 160 |
+
},
|
| 161 |
+
{
|
| 162 |
+
"主題類別": "其他主題",
|
| 163 |
+
"主題(第一層)": "花草",
|
| 164 |
+
"主題(第二層)": "菊",
|
| 165 |
+
"主題說明": ""
|
| 166 |
+
},
|
| 167 |
+
{
|
| 168 |
+
"主題類別": "其他主題",
|
| 169 |
+
"主題(第一層)": "建築",
|
| 170 |
+
"主題(第二層)": "橋",
|
| 171 |
+
"主題說明": ""
|
| 172 |
+
},
|
| 173 |
+
{
|
| 174 |
+
"主題類別": "其他主題",
|
| 175 |
+
"主題(第一層)": "經史‧故事",
|
| 176 |
+
"主題(第二層)": "",
|
| 177 |
+
"主��說明": "陶淵明"
|
| 178 |
+
},
|
| 179 |
+
{
|
| 180 |
+
"主題類別": "其他主題",
|
| 181 |
+
"主題(第一層)": "樹木",
|
| 182 |
+
"主題(第二層)": "",
|
| 183 |
+
"主題說明": ""
|
| 184 |
+
},
|
| 185 |
+
{
|
| 186 |
+
"主題類別": "其他主題",
|
| 187 |
+
"主題(第一層)": "樹木",
|
| 188 |
+
"主題(第二層)": "松",
|
| 189 |
+
"主題說明": ""
|
| 190 |
+
}
|
| 191 |
+
],
|
| 192 |
+
"技法": [
|
| 193 |
+
{
|
| 194 |
+
"技法": "皴法",
|
| 195 |
+
"技法細目": ""
|
| 196 |
+
}
|
| 197 |
+
],
|
| 198 |
+
"參考資料": {
|
| 199 |
+
"內容簡介": "梁楷（西元十三世紀），原籍山東東平，居浙江錢塘。善畫人物、山水、道釋、鬼神。曾從賈師古學畫，人物描寫飄逸，帝賜予金帶，不受，掛於院中自去。又嗜酒自樂，人稱「梁風子」。傳世作品以「減筆人物」最稱精妙。 \r\n本幅畫溪旁喬松楓葉，一高士身披鹿皮，把菊曳杖而行，右邊坡腳有梁楷款。人物神情生動，樹石亦蒼勁。背景用淡墨烘染，祇覺晨霧未消，曉風吹拂，宛如置身仙境。\r\n(20121016)",
|
| 200 |
+
"Description": "Liang Kai (originally from Dongping, Shandong), lived in Qiantang, Zhejiang. He excelled at figures, landscapes, Buddhist-Taoist subjects, and spirits. He studied under Jia Shigu, creating graceful figures, but refused the Golden Sash at court, hanging it at the Academy and leaving. Fond of drink, he was nicknamed “Madman Liang,” his “figures in abbreviated ink” most exquisite. This work depicts a gentleman in a deerskin cape with a chrysanthemum and walking with a staff below pine and maple trees. Liang’s signature appears in the lower right. He imbued the figure with life while limning the trees and terrain with force. The pale wash background appears filled with dawn mists. In a gentle morning breeze, the scene is reminiscent of the immortals.\r\n(20121016)",
|
| 201 |
+
"參考書目": [
|
| 202 |
+
"童文娥，〈宋梁楷東籬高士圖 軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁190-191。",
|
| 203 |
+
"1.王耀庭，〈宋梁楷東籬高士圖〉，收入王耀庭編，《淵明逸致特展圖錄》（臺北：國立故宮博物院，1988年初版），頁92。\r\n2.〈宋梁楷東籬高士圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁166。\r\n3.本社，〈宋梁楷東籬高士圖〉，《故宮文物月刊》，第66期（1988年9月），頁1。\r\n4.王靜靈，〈〈東籬高士〉的風格與圖像 — 兼談梁楷「精妙之筆」的問題〉，《故宮文物月刊》，第280期（2006年7月），頁66-77。"
|
| 204 |
+
],
|
| 205 |
+
"收藏著錄": [
|
| 206 |
+
"石渠寶笈初編（御書房），下冊，頁1104",
|
| 207 |
+
"故宮書畫錄（卷五），第三冊，頁108",
|
| 208 |
+
"故宮書畫圖錄，第二冊，頁219-220"
|
| 209 |
+
]
|
| 210 |
+
},
|
| 211 |
+
"保存維護": {
|
| 212 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 213 |
+
"相關連結": [
|
| 214 |
+
{
|
| 215 |
+
"文本": "抽盤點紀錄",
|
| 216 |
+
"onclick": "Invertory('故畫000127N000000000')"
|
| 217 |
+
},
|
| 218 |
+
{
|
| 219 |
+
"文本": "修護紀錄",
|
| 220 |
+
"onclick": "Repair('故畫000127N000000000')"
|
| 221 |
+
}
|
| 222 |
+
]
|
| 223 |
+
}
|
| 224 |
+
}
|
data/artifact_1263.json
ADDED
|
@@ -0,0 +1,134 @@
|
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|
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|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
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|
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|
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|
|
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|
|
|
|
|
|
|
|
|
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|
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|
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|
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|
|
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|
|
|
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|
|
|
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|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1263",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1263?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋王詵畫鷹 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000069N000000000",
|
| 7 |
+
"作品號": "故畫00006900000",
|
| 8 |
+
"品名": "宋王詵畫鷹 軸",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "王詵",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "136.7x69.7"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "王詵",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "大宋駙馬王晉卿寫",
|
| 31 |
+
"書體": "楷書",
|
| 32 |
+
"全文": ""
|
| 33 |
+
}
|
| 34 |
+
],
|
| 35 |
+
"印記資料": [
|
| 36 |
+
{
|
| 37 |
+
"印記類別": "鑑藏寶璽",
|
| 38 |
+
"印主": "清內府印",
|
| 39 |
+
"印記": "三希堂精鑑璽"
|
| 40 |
+
},
|
| 41 |
+
{
|
| 42 |
+
"印記類別": "鑑藏寶璽",
|
| 43 |
+
"印主": "清內府印",
|
| 44 |
+
"印記": "石渠寶笈"
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"印記類別": "鑑藏寶璽",
|
| 48 |
+
"印主": "清內府印",
|
| 49 |
+
"印記": "宜子孫"
|
| 50 |
+
},
|
| 51 |
+
{
|
| 52 |
+
"印記類別": "鑑藏寶璽",
|
| 53 |
+
"印主": "宣統帝",
|
| 54 |
+
"印記": "宣統御覽之寶"
|
| 55 |
+
},
|
| 56 |
+
{
|
| 57 |
+
"印記類別": "鑑藏寶璽",
|
| 58 |
+
"印主": "清仁宗",
|
| 59 |
+
"印記": "嘉慶御覽之寶"
|
| 60 |
+
},
|
| 61 |
+
{
|
| 62 |
+
"印記類別": "鑑藏寶璽",
|
| 63 |
+
"印主": "清仁宗",
|
| 64 |
+
"印記": "嘉慶鑑賞"
|
| 65 |
+
},
|
| 66 |
+
{
|
| 67 |
+
"印記類別": "鑑藏寶璽",
|
| 68 |
+
"印主": "清仁宗",
|
| 69 |
+
"印記": "寶笈三編"
|
| 70 |
+
}
|
| 71 |
+
],
|
| 72 |
+
"主題": [
|
| 73 |
+
{
|
| 74 |
+
"主題類別": "主要主題",
|
| 75 |
+
"主題(第一層)": "走獸",
|
| 76 |
+
"主題(第二層)": "狗",
|
| 77 |
+
"主題說明": ""
|
| 78 |
+
},
|
| 79 |
+
{
|
| 80 |
+
"主題類別": "主要主題",
|
| 81 |
+
"主題(第一層)": "翎毛",
|
| 82 |
+
"主題(第二層)": "雉（錦雞．雉類）",
|
| 83 |
+
"主題說明": "環頸雉"
|
| 84 |
+
},
|
| 85 |
+
{
|
| 86 |
+
"主題類別": "主要主題",
|
| 87 |
+
"主題(第一層)": "翎毛",
|
| 88 |
+
"主題(第二層)": "鷹",
|
| 89 |
+
"主題說明": ""
|
| 90 |
+
},
|
| 91 |
+
{
|
| 92 |
+
"主題類別": "主要主題",
|
| 93 |
+
"主題(第一層)": "樹木",
|
| 94 |
+
"主題(第二層)": "",
|
| 95 |
+
"主題說明": ""
|
| 96 |
+
},
|
| 97 |
+
{
|
| 98 |
+
"主題類別": "其他主題",
|
| 99 |
+
"主題(第一層)": "花草",
|
| 100 |
+
"主題(第二層)": "",
|
| 101 |
+
"主題說明": ""
|
| 102 |
+
}
|
| 103 |
+
],
|
| 104 |
+
"技法": [
|
| 105 |
+
{
|
| 106 |
+
"技法": "工筆",
|
| 107 |
+
"技法細目": ""
|
| 108 |
+
},
|
| 109 |
+
{
|
| 110 |
+
"技法": "雙鉤",
|
| 111 |
+
"技法細目": ""
|
| 112 |
+
}
|
| 113 |
+
],
|
| 114 |
+
"參考資料": {
|
| 115 |
+
"收藏著錄": [
|
| 116 |
+
"石渠寶笈三編（延春閣），第三冊，頁1441",
|
| 117 |
+
"故宮書畫錄（卷五），第三冊，頁66-67",
|
| 118 |
+
"故宮書畫圖錄，第一冊，頁311-312"
|
| 119 |
+
]
|
| 120 |
+
},
|
| 121 |
+
"保存維護": {
|
| 122 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 123 |
+
"相關連結": [
|
| 124 |
+
{
|
| 125 |
+
"文本": "抽盤點紀錄",
|
| 126 |
+
"onclick": "Invertory('故畫000069N000000000')"
|
| 127 |
+
},
|
| 128 |
+
{
|
| 129 |
+
"文本": "修護紀錄",
|
| 130 |
+
"onclick": "Repair('故畫000069N000000000')"
|
| 131 |
+
}
|
| 132 |
+
]
|
| 133 |
+
}
|
| 134 |
+
}
|
data/artifact_1265.json
ADDED
|
@@ -0,0 +1,155 @@
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| 1 |
+
{
|
| 2 |
+
"UniqueID": "1265",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1265?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋徽宗紅蓼白鵝圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000067N000000000",
|
| 7 |
+
"作品號": "故畫00006700000",
|
| 8 |
+
"品名": "宋徽宗紅蓼白鵝圖 軸\nWhite Goose and Red Polygonum",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "趙佶,Emperor Huizong",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "132.9x86.3"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "收傳印記",
|
| 29 |
+
"印主": "耿昭忠",
|
| 30 |
+
"印記": "丹誠"
|
| 31 |
+
},
|
| 32 |
+
{
|
| 33 |
+
"印記類別": "收傳印記",
|
| 34 |
+
"印主": "耿昭忠",
|
| 35 |
+
"印記": "公"
|
| 36 |
+
},
|
| 37 |
+
{
|
| 38 |
+
"印記類別": "收傳印記",
|
| 39 |
+
"印主": "耿昭忠",
|
| 40 |
+
"印記": "宜爾子孫"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "收傳印記",
|
| 44 |
+
"印主": "耿昭忠",
|
| 45 |
+
"印記": "信公珍賞"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "收傳印記",
|
| 49 |
+
"印主": "宋徽宗",
|
| 50 |
+
"印記": "宣和殿寶"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "收傳印記",
|
| 54 |
+
"印主": "耿昭忠",
|
| 55 |
+
"印記": "珍秘"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "收傳印記",
|
| 59 |
+
"印主": "耿昭忠",
|
| 60 |
+
"印記": "真賞"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "收傳印記",
|
| 64 |
+
"印主": "耿嘉祚",
|
| 65 |
+
"印記": "耿會侯鑑定書畫之章"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "收傳印記",
|
| 69 |
+
"印主": "耿昭忠",
|
| 70 |
+
"印記": "都尉耿信公書畫之章"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "收傳印記",
|
| 74 |
+
"印主": "耿昭忠",
|
| 75 |
+
"印記": "琴書堂"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "鑑藏寶璽",
|
| 79 |
+
"印主": "清內府印",
|
| 80 |
+
"印記": "石渠寶笈"
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"印記類別": "鑑藏寶璽",
|
| 84 |
+
"印主": "宣統帝",
|
| 85 |
+
"印記": "宣統御覽之寶"
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"印記類別": "鑑藏寶璽",
|
| 89 |
+
"印主": "清高宗",
|
| 90 |
+
"印記": "乾隆御覽之寶"
|
| 91 |
+
},
|
| 92 |
+
{
|
| 93 |
+
"印記類別": "鑑藏寶璽",
|
| 94 |
+
"印主": "清仁宗",
|
| 95 |
+
"印記": "嘉慶御覽之寶"
|
| 96 |
+
},
|
| 97 |
+
{
|
| 98 |
+
"印記類別": "鑑藏寶璽",
|
| 99 |
+
"印主": "清高宗",
|
| 100 |
+
"印記": "養心殿鑑藏寶"
|
| 101 |
+
}
|
| 102 |
+
],
|
| 103 |
+
"主題": [
|
| 104 |
+
{
|
| 105 |
+
"主題類別": "主要主題",
|
| 106 |
+
"主題(第一層)": "花草",
|
| 107 |
+
"主題(第二層)": "紅蓼",
|
| 108 |
+
"主題說明": ""
|
| 109 |
+
},
|
| 110 |
+
{
|
| 111 |
+
"主題類別": "主要主題",
|
| 112 |
+
"主題(第一層)": "翎毛",
|
| 113 |
+
"主題(第二層)": "鵝",
|
| 114 |
+
"主題說明": ""
|
| 115 |
+
},
|
| 116 |
+
{
|
| 117 |
+
"主題類別": "其他主題",
|
| 118 |
+
"主題(第一層)": "山水",
|
| 119 |
+
"主題(第二層)": "江河、湖海",
|
| 120 |
+
"主題說明": ""
|
| 121 |
+
}
|
| 122 |
+
],
|
| 123 |
+
"技法": [
|
| 124 |
+
{
|
| 125 |
+
"技法": "工筆",
|
| 126 |
+
"技法細目": ""
|
| 127 |
+
},
|
| 128 |
+
{
|
| 129 |
+
"技法": "雙鉤",
|
| 130 |
+
"技法細目": ""
|
| 131 |
+
}
|
| 132 |
+
],
|
| 133 |
+
"參考資料": {
|
| 134 |
+
"內容簡介": "宋徽宗(1082-1135)，姓趙名佶。性好書畫，秉賦極高，山水、花鳥、人物，莫不工。筆墨挺秀，雅韻宜人，書稱瘦金體，筆勢勁逸。紅蓼一枝，離坡高起，畫葉正反翻折得勢。白鵝蹲伏淺渚之上，回首理翎，目光凝然似欲睡。用粉鉤翎，筆意精工之甚。水邊作細卵石無數，群色爛然，秋風野水，觀之恍然使人如在澄波古岸邊也。本幅構圖與院藏宋人秋塘雙雁極似，應屬後人傳摹之作。",
|
| 135 |
+
"Description": "Emperor Hui-tsung's personal name was Chao Chi. He was a graet patron of the arts, an excellent essayist, and a calligrapher of rank. He also excelled at painting landscapes, birds, flowers, and figures. The style of his calligraphy is called \"slender gold\" and has an uninhibited, tensile strength. A flowering polygonum plant springs up from a sloping bank. Beneath its branches a white goose stands, nuzzling and preening as if ready for a nap. The plant has been rendered with curling leaves in varying positions, and its branches have been arranged into graceful sprays. Lead white has been used to outline the plumage of the smooth egg-shaped stones at the edge of the water. The glowing colors have been chosen to create the effect of an autumn wilderness. Such a scene makes the viewer feel somewhat dazed, as if he were actually standing on the banks of a stream in ancient days. This painting along with A pair of wild Geese By an Autumn Pond attributed to a Sung dynasty artist also in the museum's collection, however, is a copy by a later artist.",
|
| 136 |
+
"收藏著錄": [
|
| 137 |
+
"石渠寶笈初編（養心殿），上冊，頁658",
|
| 138 |
+
"故宮書畫錄（卷五），第三冊，頁65-66",
|
| 139 |
+
"故宮書畫圖錄，第一冊，頁299-300"
|
| 140 |
+
]
|
| 141 |
+
},
|
| 142 |
+
"保存維護": {
|
| 143 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 144 |
+
"相關連結": [
|
| 145 |
+
{
|
| 146 |
+
"文本": "抽盤點紀錄",
|
| 147 |
+
"onclick": "Invertory('故畫000067N000000000')"
|
| 148 |
+
},
|
| 149 |
+
{
|
| 150 |
+
"文本": "修護紀錄",
|
| 151 |
+
"onclick": "Repair('故畫000067N000000000')"
|
| 152 |
+
}
|
| 153 |
+
]
|
| 154 |
+
}
|
| 155 |
+
}
|
data/artifact_1266.json
ADDED
|
@@ -0,0 +1,216 @@
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|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1266",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1266?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋李成群峰霽雪 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000033N000000000",
|
| 7 |
+
"作品號": "故畫00003300000",
|
| 8 |
+
"品名": "宋李成群峰霽雪 軸\nClustered Peaks After a Snowfall",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "李成,Li Cheng",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "77.3x31.6"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "題跋",
|
| 28 |
+
"作者": "高士奇\n印記\nexpand_more",
|
| 29 |
+
"位置": "邊幅",
|
| 30 |
+
"款識": "江村高士奇竹窗",
|
| 31 |
+
"書體": "",
|
| 32 |
+
"全文": "雪積峰峰白。烟寒樹樹稠。寺深疎磐遠。澗咽凍泉流。靜對衣憎薄。澄懷路可求。毫端師造化。畫史重營丘。康熙戊寅(1698)七月。秋暑尚熾。懸營丘群峰霽雪圖於簡靜齋壁。漫題。江村高士奇竹窗。",
|
| 33 |
+
"印記資料": [
|
| 34 |
+
{
|
| 35 |
+
"印主": "高士奇",
|
| 36 |
+
"印記": "士奇"
|
| 37 |
+
},
|
| 38 |
+
{
|
| 39 |
+
"印主": "高士奇",
|
| 40 |
+
"印記": "高澹人"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印主": "高士奇",
|
| 44 |
+
"印記": "竹窗"
|
| 45 |
+
}
|
| 46 |
+
]
|
| 47 |
+
}
|
| 48 |
+
],
|
| 49 |
+
"印記資料": [
|
| 50 |
+
{
|
| 51 |
+
"印記類別": "收傳印記",
|
| 52 |
+
"印主": "宋定國",
|
| 53 |
+
"印記": "心遠堂"
|
| 54 |
+
},
|
| 55 |
+
{
|
| 56 |
+
"印記類別": "收傳印記",
|
| 57 |
+
"印主": "高士奇",
|
| 58 |
+
"印記": "江村祕藏"
|
| 59 |
+
},
|
| 60 |
+
{
|
| 61 |
+
"印記類別": "收傳印記",
|
| 62 |
+
"印主": "李霨",
|
| 63 |
+
"印記": "李霨"
|
| 64 |
+
},
|
| 65 |
+
{
|
| 66 |
+
"印記類別": "收傳印記",
|
| 67 |
+
"印主": "李霨",
|
| 68 |
+
"印記": "坦園圖書"
|
| 69 |
+
},
|
| 70 |
+
{
|
| 71 |
+
"印記類別": "收傳印記",
|
| 72 |
+
"印主": "朱世熏",
|
| 73 |
+
"印記": "宛平朱世熏印"
|
| 74 |
+
},
|
| 75 |
+
{
|
| 76 |
+
"印記類別": "收傳印記",
|
| 77 |
+
"印主": "高士奇",
|
| 78 |
+
"印記": "抱瓮翁"
|
| 79 |
+
},
|
| 80 |
+
{
|
| 81 |
+
"印記類別": "鑑藏寶璽",
|
| 82 |
+
"印主": "清內府印",
|
| 83 |
+
"印記": "三希堂精鑑璽"
|
| 84 |
+
},
|
| 85 |
+
{
|
| 86 |
+
"印記類別": "鑑藏寶璽",
|
| 87 |
+
"印主": "清高宗",
|
| 88 |
+
"印記": "石渠定鑑"
|
| 89 |
+
},
|
| 90 |
+
{
|
| 91 |
+
"印記類別": "鑑藏寶璽",
|
| 92 |
+
"印主": "清內府印",
|
| 93 |
+
"印記": "石渠寶笈"
|
| 94 |
+
},
|
| 95 |
+
{
|
| 96 |
+
"印記類別": "鑑藏寶璽",
|
| 97 |
+
"印主": "清內府印",
|
| 98 |
+
"印記": "宜子孫"
|
| 99 |
+
},
|
| 100 |
+
{
|
| 101 |
+
"印記類別": "鑑藏寶璽",
|
| 102 |
+
"印主": "宣統帝",
|
| 103 |
+
"印記": "宣統御覽之寶"
|
| 104 |
+
},
|
| 105 |
+
{
|
| 106 |
+
"印記類別": "鑑藏寶璽",
|
| 107 |
+
"印主": "清高宗",
|
| 108 |
+
"印記": "重華宮鑑藏寶"
|
| 109 |
+
},
|
| 110 |
+
{
|
| 111 |
+
"印記類別": "鑑藏寶璽",
|
| 112 |
+
"印主": "清高宗",
|
| 113 |
+
"印記": "乾隆御覽之寶"
|
| 114 |
+
},
|
| 115 |
+
{
|
| 116 |
+
"印記類別": "鑑藏寶璽",
|
| 117 |
+
"印主": "清高宗",
|
| 118 |
+
"印記": "乾隆鑑賞"
|
| 119 |
+
},
|
| 120 |
+
{
|
| 121 |
+
"印記類別": "鑑藏寶璽",
|
| 122 |
+
"印主": "清仁宗",
|
| 123 |
+
"印記": "嘉慶御覽之寶"
|
| 124 |
+
},
|
| 125 |
+
{
|
| 126 |
+
"印記類別": "鑑藏寶璽",
|
| 127 |
+
"印主": "清高宗",
|
| 128 |
+
"印記": "寶笈重編"
|
| 129 |
+
}
|
| 130 |
+
],
|
| 131 |
+
"主題": [
|
| 132 |
+
{
|
| 133 |
+
"主題類別": "主要主題",
|
| 134 |
+
"主題(第一層)": "山水",
|
| 135 |
+
"主題(第二層)": "冬景（雪景）",
|
| 136 |
+
"主題說明": ""
|
| 137 |
+
},
|
| 138 |
+
{
|
| 139 |
+
"主題類別": "其他主題",
|
| 140 |
+
"主題(第一層)": "人物",
|
| 141 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 142 |
+
"主題說明": ""
|
| 143 |
+
},
|
| 144 |
+
{
|
| 145 |
+
"主題類別": "其他主題",
|
| 146 |
+
"主題(第一層)": "山水",
|
| 147 |
+
"主題(第二層)": "江河、湖海",
|
| 148 |
+
"主題說明": ""
|
| 149 |
+
},
|
| 150 |
+
{
|
| 151 |
+
"主題類別": "其他主題",
|
| 152 |
+
"主題(第一層)": "山水",
|
| 153 |
+
"主題(第二層)": "溪澗、湍泉",
|
| 154 |
+
"主題說明": ""
|
| 155 |
+
},
|
| 156 |
+
{
|
| 157 |
+
"主題類別": "其他主題",
|
| 158 |
+
"主題(第一層)": "山水",
|
| 159 |
+
"主題(第二層)": "瀑布",
|
| 160 |
+
"主題說明": ""
|
| 161 |
+
},
|
| 162 |
+
{
|
| 163 |
+
"主題類別": "其他主題",
|
| 164 |
+
"主題(第��層)": "建築",
|
| 165 |
+
"主題(第二層)": "亭",
|
| 166 |
+
"主題說明": ""
|
| 167 |
+
},
|
| 168 |
+
{
|
| 169 |
+
"主題類別": "其他主題",
|
| 170 |
+
"主題(第一層)": "建築",
|
| 171 |
+
"主題(第二層)": "臺閣",
|
| 172 |
+
"主題說明": ""
|
| 173 |
+
},
|
| 174 |
+
{
|
| 175 |
+
"主題類別": "其他主題",
|
| 176 |
+
"主題(第一層)": "樹木",
|
| 177 |
+
"主題(第二層)": "竹",
|
| 178 |
+
"主題說明": ""
|
| 179 |
+
},
|
| 180 |
+
{
|
| 181 |
+
"主題類別": "其他主題",
|
| 182 |
+
"主題(第一層)": "樹木",
|
| 183 |
+
"主題(第二層)": "寒林．枯樹",
|
| 184 |
+
"主題說明": ""
|
| 185 |
+
}
|
| 186 |
+
],
|
| 187 |
+
"技法": [
|
| 188 |
+
{
|
| 189 |
+
"技法": "工筆",
|
| 190 |
+
"技法細目": ""
|
| 191 |
+
}
|
| 192 |
+
],
|
| 193 |
+
"參考資料": {
|
| 194 |
+
"內容簡介": "李成（西元九一六—九六七年），其先唐宗室，避地營丘，因而徙家居此。本圖畫雪峰寒樹，泉流、空亭、寺院點綴其間。畫無名款，經清初高士奇收藏，裱綾一六九八年題中有「懸營丘羣峰霽雪圖於簡靜齋」語，應為畫名由來。李成擅畫山水寒林，後世相關母題多託其名。本幅用墨較濃，山石以類似小斧劈皴擦暗面；全幅烘染，表現氤氳之氣。然用筆細碎，山勢疊嶂較為平面，或為晚明仿作。",
|
| 195 |
+
"Description": "Li Ch’eng descended from a T’ang imperial family seeking refuge in Ying-ch’iu. This work depicts snowy peaks and wintry trees interspersed with a stream, empty pavilion, and temple architecture. Though with neither seal nor signature of the artist, a 1698 inscription on the mounting from the collector Kao Shih-ch’i mentions “Chien-ching Studio among Clustered Peaks After Snowfall in Ying-ch’iu.” Li Ch’eng excelled at landscapes of wintry forests, with many later such works attributed to him. The ink here is relatively thick, the earthen forms revealing dark, small “axe-cut” texture strokes and ink washes to impart atmosphere. Also, the small strokes, flat peaks and layered ridges suggest a late Ming dynasty (1368-1644) imitation.",
|
| 196 |
+
"收藏著錄": [
|
| 197 |
+
"石渠寶笈續編（重華宮），第三冊，頁1508",
|
| 198 |
+
"故宮書畫錄（卷五），第三冊，頁34-35",
|
| 199 |
+
"故宮書畫圖錄，第一冊，頁143-144"
|
| 200 |
+
],
|
| 201 |
+
"參考書目": "1.本社，〈宋李成群峰霽雪〉，《故宮文物月刊》，第69期（1988年12月），封底裡。"
|
| 202 |
+
},
|
| 203 |
+
"保存維護": {
|
| 204 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 205 |
+
"相關連結": [
|
| 206 |
+
{
|
| 207 |
+
"文本": "抽盤點紀錄",
|
| 208 |
+
"onclick": "Invertory('故畫000033N000000000')"
|
| 209 |
+
},
|
| 210 |
+
{
|
| 211 |
+
"文本": "修護紀錄",
|
| 212 |
+
"onclick": "Repair('故畫000033N000000000')"
|
| 213 |
+
}
|
| 214 |
+
]
|
| 215 |
+
}
|
| 216 |
+
}
|
data/artifact_1267.json
ADDED
|
@@ -0,0 +1,193 @@
|
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|
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|
|
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|
|
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|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
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|
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|
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|
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|
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|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
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|
|
|
|
|
|
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|
|
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|
|
|
|
|
|
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|
|
|
|
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|
|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
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|
|
|
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|
|
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|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1267",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1267?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋李成寒林平野圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000035N000000000",
|
| 7 |
+
"作品號": "故畫00003500000",
|
| 8 |
+
"品名": "宋李成寒林平野圖 軸\nLevel Plain and Wintry Trees",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "李成,明人 Anonymous,Ming Dynasty",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "137.8x69.2"
|
| 17 |
+
},
|
| 18 |
+
{
|
| 19 |
+
"位置": "全幅",
|
| 20 |
+
"尺寸(公分)": "303x96"
|
| 21 |
+
}
|
| 22 |
+
],
|
| 23 |
+
"質地": [
|
| 24 |
+
{
|
| 25 |
+
"質地位置": "本幅",
|
| 26 |
+
"質地": "絹"
|
| 27 |
+
}
|
| 28 |
+
],
|
| 29 |
+
"題跋資料": [
|
| 30 |
+
{
|
| 31 |
+
"題跋類別": "題跋",
|
| 32 |
+
"作者": "宋徽宗\n印記\nexpand_more",
|
| 33 |
+
"位置": "本幅",
|
| 34 |
+
"款識": "",
|
| 35 |
+
"書體": "楷書",
|
| 36 |
+
"全文": "李成寒林平野。",
|
| 37 |
+
"印記資料": [
|
| 38 |
+
{
|
| 39 |
+
"印主": "宋徽宗",
|
| 40 |
+
"印記": "御書（半印）"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印主": "宋徽宗",
|
| 44 |
+
"印記": "宣和"
|
| 45 |
+
}
|
| 46 |
+
]
|
| 47 |
+
},
|
| 48 |
+
{
|
| 49 |
+
"題跋類別": "題跋",
|
| 50 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 51 |
+
"位置": "本幅",
|
| 52 |
+
"款識": "癸未新春御題",
|
| 53 |
+
"書體": "行書",
|
| 54 |
+
"全文": "枯柯錯出老松枝。漠漠寒臯欲雪時。憶向龍泉經一再。壹懷此景每逢之。癸未（西元一七六三年）新春御題。",
|
| 55 |
+
"印記資料": [
|
| 56 |
+
{
|
| 57 |
+
"印主": "清高宗",
|
| 58 |
+
"印記": "乾"
|
| 59 |
+
},
|
| 60 |
+
{
|
| 61 |
+
"印主": "清高宗",
|
| 62 |
+
"印記": "隆"
|
| 63 |
+
}
|
| 64 |
+
]
|
| 65 |
+
}
|
| 66 |
+
],
|
| 67 |
+
"印記資料": [
|
| 68 |
+
{
|
| 69 |
+
"印記類別": "收傳印記",
|
| 70 |
+
"印主": "柯九思",
|
| 71 |
+
"印記": "柯九思(墨印)"
|
| 72 |
+
},
|
| 73 |
+
{
|
| 74 |
+
"印記類別": "收傳印記",
|
| 75 |
+
"印主": "柯九思",
|
| 76 |
+
"印記": "柯氏秘笈"
|
| 77 |
+
},
|
| 78 |
+
{
|
| 79 |
+
"印記類別": "鑑藏寶璽",
|
| 80 |
+
"印主": "清內府印",
|
| 81 |
+
"印記": "三希堂精鑑璽"
|
| 82 |
+
},
|
| 83 |
+
{
|
| 84 |
+
"印記類別": "鑑藏寶璽",
|
| 85 |
+
"印主": "清內府印",
|
| 86 |
+
"印記": "石渠寶笈"
|
| 87 |
+
},
|
| 88 |
+
{
|
| 89 |
+
"印記類別": "鑑藏寶璽",
|
| 90 |
+
"印主": "清內府印",
|
| 91 |
+
"印記": "石渠繼鑑"
|
| 92 |
+
},
|
| 93 |
+
{
|
| 94 |
+
"印記類別": "鑑藏寶璽",
|
| 95 |
+
"印主": "清內府印",
|
| 96 |
+
"印記": "宜子孫"
|
| 97 |
+
},
|
| 98 |
+
{
|
| 99 |
+
"印記類別": "鑑藏寶璽",
|
| 100 |
+
"印主": "宣統帝",
|
| 101 |
+
"印記": "宣統御覽之寶"
|
| 102 |
+
},
|
| 103 |
+
{
|
| 104 |
+
"印記類別": "鑑藏寶璽",
|
| 105 |
+
"印主": "宣統帝",
|
| 106 |
+
"印記": "宣統鑑賞"
|
| 107 |
+
},
|
| 108 |
+
{
|
| 109 |
+
"印記類別": "鑑藏寶璽",
|
| 110 |
+
"印主": "清高宗",
|
| 111 |
+
"印記": "重華宮鑑藏寶"
|
| 112 |
+
},
|
| 113 |
+
{
|
| 114 |
+
"印記類別": "鑑藏寶璽",
|
| 115 |
+
"印主": "清高宗",
|
| 116 |
+
"印記": "乾隆御覽之寶"
|
| 117 |
+
},
|
| 118 |
+
{
|
| 119 |
+
"印記類別": "鑑藏寶璽",
|
| 120 |
+
"印主": "清高宗",
|
| 121 |
+
"印記": "乾隆鑑賞"
|
| 122 |
+
},
|
| 123 |
+
{
|
| 124 |
+
"印記類別": "鑑藏寶璽",
|
| 125 |
+
"印主": "宣統帝",
|
| 126 |
+
"印記": "無逸齋精鑒璽"
|
| 127 |
+
},
|
| 128 |
+
{
|
| 129 |
+
"印記類別": "鑑藏寶璽",
|
| 130 |
+
"印主": "清仁宗",
|
| 131 |
+
"印記": "嘉慶御覽之寶"
|
| 132 |
+
},
|
| 133 |
+
{
|
| 134 |
+
"印記類別": "鑑藏寶璽",
|
| 135 |
+
"印主": "清高宗",
|
| 136 |
+
"印記": "樂善堂圖書記"
|
| 137 |
+
}
|
| 138 |
+
],
|
| 139 |
+
"主題": [
|
| 140 |
+
{
|
| 141 |
+
"主題類別": "主要主題",
|
| 142 |
+
"主題(第一層)": "山水",
|
| 143 |
+
"主題(第二層)": "冬景（雪景）",
|
| 144 |
+
"主題說明": ""
|
| 145 |
+
},
|
| 146 |
+
{
|
| 147 |
+
"主題類別": "主要主題",
|
| 148 |
+
"主題(第一層)": "樹木",
|
| 149 |
+
"主題(第二層)": "松",
|
| 150 |
+
"主題說明": ""
|
| 151 |
+
},
|
| 152 |
+
{
|
| 153 |
+
"主題類別": "主要主題",
|
| 154 |
+
"主題(第一層)": "樹木",
|
| 155 |
+
"主題(第二層)": "寒林．枯樹",
|
| 156 |
+
"主題說明": "寒林"
|
| 157 |
+
},
|
| 158 |
+
{
|
| 159 |
+
"主題類別": "其他主題",
|
| 160 |
+
"主題(第一層)": "山水",
|
| 161 |
+
"主題(第二層)": "",
|
| 162 |
+
"主題說明": ""
|
| 163 |
+
}
|
| 164 |
+
],
|
| 165 |
+
"技法": [
|
| 166 |
+
{
|
| 167 |
+
"技法": "皴法",
|
| 168 |
+
"技法細目": ""
|
| 169 |
+
}
|
| 170 |
+
],
|
| 171 |
+
"參考資料": {
|
| 172 |
+
"內容簡介": "水岸畫老松枯木，背景則山水平遠，景物蕭疏空闊。無作者款印，右上角仿題「李成寒林平野」。李成（西元九一六－九六七年），字咸熙，唐皇室後裔，本住陝西長安，唐末遷山東青州。個性放蕩不羈，好飲酒吟詩，善畫山水。李成作品於北宋末已極稀少，根據記載其畫筆墨精微，善於表現「氣象蕭疏，煙林清曠」的意境。本幅樹石畫法模仿李成寒林特徵，從畫風看應為明代仿作。(20120103)",
|
| 173 |
+
"Description": "On a foreground bank by the water are old pines and withered trees with a background composition featuring a level distance, the scenery desolate and expansive. Though no artist’s seal or signature is here, an inscription in the upper right attributes it to Li Cheng (916-967). Descended from the Tang imperial clan, Li originally lived in Chang’an, Shaanxi, moving in the late Tang to Qingzhou, Shandong. Unbridled, he took to wine and poetry, excelling at landscape painting but his works already scarce by the late Northern Song. Records say his use of brush and ink is sublime, excelling at a “remote atmosphere and misty forests of pure spaciousness.” This work appears to be a Ming imitation that intentionally follows his wintry forests.(20120103)",
|
| 174 |
+
"收藏著錄": [
|
| 175 |
+
"石渠寶笈初編（重華宮），下冊，頁793",
|
| 176 |
+
"故宮書畫錄（卷五），第三冊，頁35-36",
|
| 177 |
+
"故宮書畫圖錄，第一冊，頁147-148"
|
| 178 |
+
]
|
| 179 |
+
},
|
| 180 |
+
"保存維護": {
|
| 181 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 182 |
+
"相關連結": [
|
| 183 |
+
{
|
| 184 |
+
"文本": "抽盤點紀錄",
|
| 185 |
+
"onclick": "Invertory('故畫000035N000000000')"
|
| 186 |
+
},
|
| 187 |
+
{
|
| 188 |
+
"文本": "修護紀錄",
|
| 189 |
+
"onclick": "Repair('故畫000035N000000000')"
|
| 190 |
+
}
|
| 191 |
+
]
|
| 192 |
+
}
|
| 193 |
+
}
|
data/artifact_1275.json
ADDED
|
@@ -0,0 +1,303 @@
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1275",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1275?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋范寬行旅圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000038N000000000",
|
| 7 |
+
"作品號": "故畫00003800000",
|
| 8 |
+
"品名": "宋范寬行旅圖 軸\nTravelers",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "范寬,清人 Anonymous,Qing Dynasty",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "155.3x74.4"
|
| 17 |
+
},
|
| 18 |
+
{
|
| 19 |
+
"位置": "全幅",
|
| 20 |
+
"尺寸(公分)": "333.6x102.8"
|
| 21 |
+
}
|
| 22 |
+
],
|
| 23 |
+
"質地": [
|
| 24 |
+
{
|
| 25 |
+
"質地位置": "本幅",
|
| 26 |
+
"質地": "絹"
|
| 27 |
+
}
|
| 28 |
+
],
|
| 29 |
+
"題跋資料": [
|
| 30 |
+
{
|
| 31 |
+
"題跋類別": "題跋",
|
| 32 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 33 |
+
"位置": "本幅",
|
| 34 |
+
"款識": "乾隆丁丑 （西元一七五七年）三月御題",
|
| 35 |
+
"書體": "行書",
|
| 36 |
+
"全文": "山容雄勝秀。水勢急非寛。大是北方景。誰歌行路難。風疑生萬葉。雲欲出遥巒。簡淡四家法。於斯鼻祖看。乾隆丁丑（西元一七五七年）三月御題。",
|
| 37 |
+
"印記資料": [
|
| 38 |
+
{
|
| 39 |
+
"印主": "清高宗",
|
| 40 |
+
"印記": "乾隆宸翰"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印主": "清高宗",
|
| 44 |
+
"印記": "幾暇臨池"
|
| 45 |
+
}
|
| 46 |
+
]
|
| 47 |
+
},
|
| 48 |
+
{
|
| 49 |
+
"題跋類別": "題跋",
|
| 50 |
+
"作者": "王時敏\n印記\nexpand_more",
|
| 51 |
+
"位置": "左方褾綾",
|
| 52 |
+
"款識": "辛亥（西元一六七一年）中秋日。西廬老人王時敏題",
|
| 53 |
+
"書體": "",
|
| 54 |
+
"全文": "余家所藏宋元名蹟。得之京師者。十之四。得之董文敏者。十之六。余寶愛之。不啻頭目髓腦。歲月如流。人事遷改。向者所藏。僅存一二。今撿舊笥得范華原行旅圖。絹素完好。英采煥發。真神物也。余年八十。屏謝塵事。惟對古人筆墨。聊以自怡。裝成因并志之。辛亥（西元一六七一年）中秋日。西廬老人王時敏題。",
|
| 55 |
+
"印記資料": [
|
| 56 |
+
{
|
| 57 |
+
"印主": "王時敏",
|
| 58 |
+
"印記": "真趣"
|
| 59 |
+
},
|
| 60 |
+
{
|
| 61 |
+
"印主": "王時敏",
|
| 62 |
+
"印記": "西廬老人"
|
| 63 |
+
},
|
| 64 |
+
{
|
| 65 |
+
"印主": "王時敏",
|
| 66 |
+
"印記": "王時敏印"
|
| 67 |
+
}
|
| 68 |
+
]
|
| 69 |
+
},
|
| 70 |
+
{
|
| 71 |
+
"題跋類別": "題跋",
|
| 72 |
+
"作者": "宋駿業\n印記\nexpand_more",
|
| 73 |
+
"位置": "右方褾綾",
|
| 74 |
+
"款識": "康熙丙子（西元一六九六年）三月既望。後學宋駿業。",
|
| 75 |
+
"書體": "",
|
| 76 |
+
"全文": "婁水之西田。有紙窗竹屋。煙客先生藏書畫之所。案頭得觀范華原真蹟。世所罕見。覺烟雲滿幅。樹木叢密。令人奪目駭心。方知古人用筆不凡。欣仰之至。石谷子是時在座。以竟日摹一縮本。贈余以遣興懷。亦得華原面目。漫識數言。以誌喜云。康熙丙子（西元一六九六年）三月既望。後學宋駿業。",
|
| 77 |
+
"印記資料": [
|
| 78 |
+
{
|
| 79 |
+
"印主": "宋駿業",
|
| 80 |
+
"印記": "（一印不可辨）"
|
| 81 |
+
}
|
| 82 |
+
]
|
| 83 |
+
}
|
| 84 |
+
],
|
| 85 |
+
"印記資料": [
|
| 86 |
+
{
|
| 87 |
+
"印記類別": "收傳印記",
|
| 88 |
+
"印主": "徐宜菴",
|
| 89 |
+
"印記": "山陰徐宜菴珍藏"
|
| 90 |
+
},
|
| 91 |
+
{
|
| 92 |
+
"印記類別": "收傳印記",
|
| 93 |
+
"印主": "王時敏",
|
| 94 |
+
"印記": "太原王遜之氏收藏圖書"
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"印記類別": "收傳印記",
|
| 98 |
+
"印主": "王時敏",
|
| 99 |
+
"印記": "王遜之書畫記"
|
| 100 |
+
},
|
| 101 |
+
{
|
| 102 |
+
"印記類別": "收傳印記",
|
| 103 |
+
"印主": "卞永譽",
|
| 104 |
+
"印記": "式古堂書畫"
|
| 105 |
+
},
|
| 106 |
+
{
|
| 107 |
+
"印記類別": "收傳印記",
|
| 108 |
+
"印主": "徐宜菴",
|
| 109 |
+
"印記": "挹青樓珍賞印"
|
| 110 |
+
},
|
| 111 |
+
{
|
| 112 |
+
"印記類別": "收傳印記",
|
| 113 |
+
"印主": "王時敏",
|
| 114 |
+
"印記": "掃花菴"
|
| 115 |
+
},
|
| 116 |
+
{
|
| 117 |
+
"印記類別": "收傳印記",
|
| 118 |
+
"印主": "王時敏",
|
| 119 |
+
"印記": "華峰主人鑒定"
|
| 120 |
+
},
|
| 121 |
+
{
|
| 122 |
+
"印記類別": "收傳印記",
|
| 123 |
+
"印主": "王時敏",
|
| 124 |
+
"印記": "烟客鑒藏"
|
| 125 |
+
},
|
| 126 |
+
{
|
| 127 |
+
"印記類別": "鑑藏寶璽",
|
| 128 |
+
"印主": "清高宗",
|
| 129 |
+
"印記": "八徵耄念之寶"
|
| 130 |
+
},
|
| 131 |
+
{
|
| 132 |
+
"印記類別": "鑑藏寶璽",
|
| 133 |
+
"印主": "清內府印",
|
| 134 |
+
"印記": "三希堂精鑑璽"
|
| 135 |
+
},
|
| 136 |
+
{
|
| 137 |
+
"印記類別": "鑑藏寶璽",
|
| 138 |
+
"印主": "清高宗",
|
| 139 |
+
"印記": "五福五代堂古稀天子寶"
|
| 140 |
+
},
|
| 141 |
+
{
|
| 142 |
+
"印記類別": "鑑藏寶璽",
|
| 143 |
+
"印主": "清高宗",
|
| 144 |
+
"印記": "古希天子"
|
| 145 |
+
},
|
| 146 |
+
{
|
| 147 |
+
"印記類別": "鑑藏寶璽",
|
| 148 |
+
"印主": "清高宗",
|
| 149 |
+
"印記": "石渠定鑑"
|
| 150 |
+
},
|
| 151 |
+
{
|
| 152 |
+
"印記類別": "鑑藏寶璽",
|
| 153 |
+
"印主": "清內府印",
|
| 154 |
+
"印記": "石渠寶笈"
|
| 155 |
+
},
|
| 156 |
+
{
|
| 157 |
+
"印記類別": "鑑藏寶璽",
|
| 158 |
+
"印主": "清內府印",
|
| 159 |
+
"印記": "宜子孫"
|
| 160 |
+
},
|
| 161 |
+
{
|
| 162 |
+
"印記類別": "鑑藏寶璽",
|
| 163 |
+
"印主": "宣統帝",
|
| 164 |
+
"印記": "宣統御覽之寶"
|
| 165 |
+
},
|
| 166 |
+
{
|
| 167 |
+
"印記類別": "鑑藏寶璽",
|
| 168 |
+
"印主": "宣統帝",
|
| 169 |
+
"印記": "宣統鑑賞"
|
| 170 |
+
},
|
| 171 |
+
{
|
| 172 |
+
"印記類別": "鑑藏寶璽",
|
| 173 |
+
"印主": "清高宗",
|
| 174 |
+
"印記": "乾清宮鑑藏寶"
|
| 175 |
+
},
|
| 176 |
+
{
|
| 177 |
+
"印記類別": "鑑藏寶璽",
|
| 178 |
+
"印主": "清高宗",
|
| 179 |
+
"印記": "乾隆御覽之寶"
|
| 180 |
+
},
|
| 181 |
+
{
|
| 182 |
+
"印記類別": "鑑藏寶璽",
|
| 183 |
+
"印主": "清高宗",
|
| 184 |
+
"印記": "乾隆鑑賞"
|
| 185 |
+
},
|
| 186 |
+
{
|
| 187 |
+
"印記類別": "鑑藏寶璽",
|
| 188 |
+
"印主": "宣統帝",
|
| 189 |
+
"印記": "無逸齋精鑒璽"
|
| 190 |
+
},
|
| 191 |
+
{
|
| 192 |
+
"印記類別": "鑑藏寶璽",
|
| 193 |
+
"印主": "清仁宗",
|
| 194 |
+
"印記": "嘉慶御覽之寶"
|
| 195 |
+
},
|
| 196 |
+
{
|
| 197 |
+
"印記類別": "鑑藏寶璽",
|
| 198 |
+
"印主": "清高宗",
|
| 199 |
+
"印記": "壽"
|
| 200 |
+
},
|
| 201 |
+
{
|
| 202 |
+
"印記類別": "鑑藏寶璽",
|
| 203 |
+
"印主": "清高宗",
|
| 204 |
+
"印記": "寶笈重編"
|
| 205 |
+
}
|
| 206 |
+
],
|
| 207 |
+
"主題": [
|
| 208 |
+
{
|
| 209 |
+
"主題類別": "主要主題",
|
| 210 |
+
"主題(第一層)": "山水",
|
| 211 |
+
"主題(第二層)": "",
|
| 212 |
+
"主題說明": ""
|
| 213 |
+
},
|
| 214 |
+
{
|
| 215 |
+
"主題類別": "其他主題",
|
| 216 |
+
"主題(第一層)": "人物",
|
| 217 |
+
"主題(第二層)": "行旅",
|
| 218 |
+
"主題說明": ""
|
| 219 |
+
},
|
| 220 |
+
{
|
| 221 |
+
"主題類別": "其他主題",
|
| 222 |
+
"主題(第一層)": "山水",
|
| 223 |
+
"主題(第二層)": "山徑",
|
| 224 |
+
"主題說明": ""
|
| 225 |
+
},
|
| 226 |
+
{
|
| 227 |
+
"主題類別": "其他主題",
|
| 228 |
+
"主題(第一層)": "山水",
|
| 229 |
+
"主題(第二層)": "溪澗、湍泉",
|
| 230 |
+
"主題說明": ""
|
| 231 |
+
},
|
| 232 |
+
{
|
| 233 |
+
"主題類別": "其他主題",
|
| 234 |
+
"主題(第一層)": "山水",
|
| 235 |
+
"主題(第二層)": "瀑布",
|
| 236 |
+
"主題說明": ""
|
| 237 |
+
},
|
| 238 |
+
{
|
| 239 |
+
"主題類別": "其他主題",
|
| 240 |
+
"主題(第一層)": "走獸",
|
| 241 |
+
"主題(第二層)": "騾．驢",
|
| 242 |
+
"主題說明": ""
|
| 243 |
+
},
|
| 244 |
+
{
|
| 245 |
+
"主題類別": "其他主題",
|
| 246 |
+
"主題(第一層)": "建築",
|
| 247 |
+
"主題(第二層)": "臺閣",
|
| 248 |
+
"主題說明": ""
|
| 249 |
+
},
|
| 250 |
+
{
|
| 251 |
+
"主題類別": "其他主題",
|
| 252 |
+
"主題(第一層)": "建築",
|
| 253 |
+
"主題(第二層)": "橋",
|
| 254 |
+
"主題說明": ""
|
| 255 |
+
},
|
| 256 |
+
{
|
| 257 |
+
"主題類別": "其他主題",
|
| 258 |
+
"主題(第一層)": "樹木",
|
| 259 |
+
"主題(第二層)": "",
|
| 260 |
+
"主題說明": ""
|
| 261 |
+
}
|
| 262 |
+
],
|
| 263 |
+
"技法": [
|
| 264 |
+
{
|
| 265 |
+
"技法": "界畫",
|
| 266 |
+
"技法細目": ""
|
| 267 |
+
},
|
| 268 |
+
{
|
| 269 |
+
"技法": "皴法",
|
| 270 |
+
"技法細目": "雨點皴"
|
| 271 |
+
}
|
| 272 |
+
],
|
| 273 |
+
"參考資料": {
|
| 274 |
+
"內容簡介": [
|
| 275 |
+
"范寬（北宋早期人），華原（陜西耀縣）人，字仲立，本名中正。性寬厚有大度，故時人目之為范寬。山水始師李成，又師荊浩，後乃自立新法。本院藏有范寬谿山行旅圖，結構偉特，筆墨古厚，為傳世范畫名蹟。此幅與谿山行旅圖結構完全相同，惟溪橋部位稍有高下，尺幅亦較谿山行旅圖為小，原為王時敏所藏，池左有王氏跋語。",
|
| 276 |
+
"本院藏有〈宋范寬谿山行旅圖〉，結構偉特，筆墨古厚，為傳世范寬名蹟。此幅與〈谿山行旅圖〉結構完全相同，惟溪橋部位稍有高下，尺幅亦較〈谿山行旅圖〉為小，缺少范寬原作雄偉高峻之感，不過筆墨精緻，顯示清初畫風所尚。原為王時敏所藏，畫幅左方有王氏跋語。原題為〈宋范寬行旅圖〉，就筆墨而言，應為清人仿作。(20120103)"
|
| 277 |
+
],
|
| 278 |
+
"Description": "Fan Kuan’s (ca. 10th c.) “Travelers Among Mountains and Streams” in the National Palace Museum collection is spectacular in structure as well as hoary in brush and ink, being his most famous surviving masterpiece. The structure of this work is similar to that one, except for the rearrangement of various parts, such as the bridge and stream part being higher. “Travelers” is also smaller than Fan Kuan’s masterpiece and the use of brush and ink lacking the majestic and lofty quality of the original. The brushwork, though, is still refined, suggesting the style of the early Qing. Once in the collection of Wang Shimin, the mounting to the left features a colophon by him. Originally ascribed in the title to Fan Kuan, it is probably a Qing dynasty imitation.(20120103)",
|
| 279 |
+
"參考書目": [
|
| 280 |
+
"劉芳如，〈宋范寬行旅圖 軸〉，收入《典範與流傳-范寬及其傳派》（臺北：國立故宮博物院，2015.07），頁70-79、321。",
|
| 281 |
+
"劉芳如、浦莉安、陳韻如，〈宋范寬行旅圖 軸〉，收入《鎮院國寶-范寬．郭熙．李唐》（臺北：國立故宮博物院，2021.10），頁140-143。",
|
| 282 |
+
"1.何傳馨，〈（原題宋范寬）行旅圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁240-241。"
|
| 283 |
+
],
|
| 284 |
+
"收藏著錄": [
|
| 285 |
+
"石渠寶笈續編（乾清宮），第一冊，頁292",
|
| 286 |
+
"故宮書畫錄（卷五），第三冊，頁41-43",
|
| 287 |
+
"故宮書畫圖錄，第一冊，頁169-170"
|
| 288 |
+
]
|
| 289 |
+
},
|
| 290 |
+
"保存維護": {
|
| 291 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 292 |
+
"相關連結": [
|
| 293 |
+
{
|
| 294 |
+
"文本": "抽盤點紀錄",
|
| 295 |
+
"onclick": "Invertory('故畫000038N000000000')"
|
| 296 |
+
},
|
| 297 |
+
{
|
| 298 |
+
"文本": "修護紀錄",
|
| 299 |
+
"onclick": "Repair('故畫000038N000000000')"
|
| 300 |
+
}
|
| 301 |
+
]
|
| 302 |
+
}
|
| 303 |
+
}
|
data/artifact_1276.json
ADDED
|
@@ -0,0 +1,190 @@
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|
|
|
|
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|
|
|
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|
|
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|
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|
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|
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|
|
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|
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|
|
|
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|
|
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|
|
|
|
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|
|
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|
|
|
|
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|
|
|
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|
|
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|
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|
|
|
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|
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|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1276",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1276?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋趙昌畫牡丹 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000051N000000000",
|
| 7 |
+
"作品號": "故畫00005100000",
|
| 8 |
+
"品名": "宋趙昌畫牡丹 軸\nPeonies",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "趙昌",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "143.5x59.3"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "趙昌\n印記\nexpand_more",
|
| 29 |
+
"位置": "",
|
| 30 |
+
"款識": "趙昌",
|
| 31 |
+
"書體": "篆書",
|
| 32 |
+
"全文": "趙昌",
|
| 33 |
+
"印記資料": [
|
| 34 |
+
{
|
| 35 |
+
"印主": "趙昌",
|
| 36 |
+
"印記": "趙昌"
|
| 37 |
+
}
|
| 38 |
+
]
|
| 39 |
+
}
|
| 40 |
+
],
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "收傳印記",
|
| 44 |
+
"印主": "",
|
| 45 |
+
"印記": "（二印漫漶不可識 ）"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "收傳印記",
|
| 49 |
+
"印主": "",
|
| 50 |
+
"印記": "大方制□"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "收傳印記",
|
| 54 |
+
"印主": "管道昇",
|
| 55 |
+
"印記": "仲姬"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "收傳印記",
|
| 59 |
+
"印主": "",
|
| 60 |
+
"印記": "宋墨（葫蘆式）"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "收傳印記",
|
| 64 |
+
"印主": "趙孟頫",
|
| 65 |
+
"印記": "松雪齋圖書印"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "收傳印記",
|
| 69 |
+
"印主": "項元汴",
|
| 70 |
+
"印記": "項墨林珍賞印"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "收傳印記",
|
| 74 |
+
"印主": "",
|
| 75 |
+
"印記": "寶晉齋"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "鑑藏寶璽",
|
| 79 |
+
"印主": "清仁宗",
|
| 80 |
+
"印記": "三希堂精鑑璽"
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"印記類別": "鑑藏寶璽",
|
| 84 |
+
"印主": "清仁宗",
|
| 85 |
+
"印記": "石渠寶笈"
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"印記類別": "鑑藏寶璽",
|
| 89 |
+
"印主": "清仁宗",
|
| 90 |
+
"印記": "宜子孫"
|
| 91 |
+
},
|
| 92 |
+
{
|
| 93 |
+
"印記類別": "鑑藏寶璽",
|
| 94 |
+
"印主": "宣統帝",
|
| 95 |
+
"印記": "宣統御覽之寶"
|
| 96 |
+
},
|
| 97 |
+
{
|
| 98 |
+
"印記類別": "鑑藏寶璽",
|
| 99 |
+
"印主": "清高宗",
|
| 100 |
+
"印記": "乾隆御覽之寶"
|
| 101 |
+
},
|
| 102 |
+
{
|
| 103 |
+
"印記類別": "鑑藏寶璽",
|
| 104 |
+
"印主": "清高宗",
|
| 105 |
+
"印記": "乾隆鑑賞"
|
| 106 |
+
},
|
| 107 |
+
{
|
| 108 |
+
"印記類別": "鑑藏寶璽",
|
| 109 |
+
"印主": "清仁宗",
|
| 110 |
+
"印記": "嘉慶御覽之寶"
|
| 111 |
+
},
|
| 112 |
+
{
|
| 113 |
+
"印記類別": "鑑藏寶璽",
|
| 114 |
+
"印主": "清仁宗",
|
| 115 |
+
"印記": "嘉慶鑑賞"
|
| 116 |
+
},
|
| 117 |
+
{
|
| 118 |
+
"印記類別": "鑑藏寶璽",
|
| 119 |
+
"印主": "清仁宗",
|
| 120 |
+
"印記": "寶笈三編"
|
| 121 |
+
}
|
| 122 |
+
],
|
| 123 |
+
"主題": [
|
| 124 |
+
{
|
| 125 |
+
"主題類別": "主要主題",
|
| 126 |
+
"主題(第一層)": "山水",
|
| 127 |
+
"主題(第二層)": "奇石",
|
| 128 |
+
"主題說明": ""
|
| 129 |
+
},
|
| 130 |
+
{
|
| 131 |
+
"主題類別": "主要主題",
|
| 132 |
+
"主題(第一層)": "花草",
|
| 133 |
+
"主題(第二層)": "牡丹",
|
| 134 |
+
"主題說明": ""
|
| 135 |
+
},
|
| 136 |
+
{
|
| 137 |
+
"主題類別": "其他主題",
|
| 138 |
+
"主題(第一層)": "花草",
|
| 139 |
+
"主題(第二層)": "鳶尾",
|
| 140 |
+
"主題說明": ""
|
| 141 |
+
},
|
| 142 |
+
{
|
| 143 |
+
"主題類別": "其他主題",
|
| 144 |
+
"主題(第一層)": "花草",
|
| 145 |
+
"主題(第二層)": "蘭．蕙",
|
| 146 |
+
"主題說明": ""
|
| 147 |
+
},
|
| 148 |
+
{
|
| 149 |
+
"主題類別": "其他主題",
|
| 150 |
+
"主題(第一層)": "花草",
|
| 151 |
+
"主題(第二層)": "靈芝",
|
| 152 |
+
"主題說明": ""
|
| 153 |
+
}
|
| 154 |
+
],
|
| 155 |
+
"技法": [
|
| 156 |
+
{
|
| 157 |
+
"技法": "工筆",
|
| 158 |
+
"技法細目": ""
|
| 159 |
+
},
|
| 160 |
+
{
|
| 161 |
+
"技法": "皴法",
|
| 162 |
+
"技法細目": ""
|
| 163 |
+
},
|
| 164 |
+
{
|
| 165 |
+
"技法": "雙鉤",
|
| 166 |
+
"技法細目": ""
|
| 167 |
+
}
|
| 168 |
+
],
|
| 169 |
+
"參考資料": {
|
| 170 |
+
"內容簡介": "趙昌(約西元十世紀末)，字昌之，四川廣漢人。擅作折枝花卉與蔬果，自號「寫生趙昌」。他很珍惜自己的畫，從不輕易給人，晚年甚至還把流落在別人手中的作品收購回來，所以很少有他的作品留傳下來。本幅舊傳為趙昌之作。湖石下有鳶尾、蘭草、靈芝，石後則有��丹盛開佈滿了畫面。絹雖黃舊，仍有艷麗之感。湖石右側有「趙昌」款印，疑為後人偽款。",
|
| 171 |
+
"Description": "Chao Ch'ang, style name Ch'ang-chih, was a native of Kuang-han in Szechwan province. He excelled at painting flowers, vegetables, and fruit, and he was particularly adept at drawing from life. He called himself \"Chao Ch'ang, painter true to life.\" He cherished his own paintings and never easily gave them to others. Later in his life, he even went so far as to buy back some of his paintings that had fallen into the hands of private collectors. Because of this practice, there are very few of his works extant. At the foot of the T'ai-hu rock are irises, orchids, and fungus. Behind the rock, peonies in full bloom fill up the entire painting. Despite the darkness of the ancient silk of the painting, the brush work and coloring are still exquisite. On the right side of the T'ai-hu rock is the seal of Chao Ch'ang which is probably a later addition.",
|
| 172 |
+
"收藏著錄": [
|
| 173 |
+
"石渠寶笈三編（乾清宮），第一冊，頁484",
|
| 174 |
+
"故宮書畫錄（卷五），第三冊，頁50-51"
|
| 175 |
+
]
|
| 176 |
+
},
|
| 177 |
+
"保存維護": {
|
| 178 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 179 |
+
"相關連結": [
|
| 180 |
+
{
|
| 181 |
+
"文本": "抽盤點紀錄",
|
| 182 |
+
"onclick": "Invertory('故畫000051N000000000')"
|
| 183 |
+
},
|
| 184 |
+
{
|
| 185 |
+
"文本": "修護紀錄",
|
| 186 |
+
"onclick": "Repair('故畫000051N000000000')"
|
| 187 |
+
}
|
| 188 |
+
]
|
| 189 |
+
}
|
| 190 |
+
}
|
data/artifact_1277.json
ADDED
|
@@ -0,0 +1,229 @@
|
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|
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|
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|
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|
|
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|
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|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
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|
|
|
|
|
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|
|
|
|
|
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|
|
|
|
|
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|
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|
|
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|
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|
|
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|
|
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|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
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|
|
|
|
|
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|
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|
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|
|
|
|
|
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|
|
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|
|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1277",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1277?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋許道寧關山密雪圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000047N000000000",
|
| 7 |
+
"作品號": "故畫00004700000",
|
| 8 |
+
"品名": "宋許道寧關山密雪圖 軸\nHeavy Snow on a Mountain Pass",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "許道寧",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "121.3x81.3"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "許道寧",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "許道寧學李咸熙關山密雪圖",
|
| 31 |
+
"書體": "",
|
| 32 |
+
"全文": ""
|
| 33 |
+
}
|
| 34 |
+
],
|
| 35 |
+
"印記資料": [
|
| 36 |
+
{
|
| 37 |
+
"印記類別": "收傳印記",
|
| 38 |
+
"印主": "卞永譽",
|
| 39 |
+
"印記": "卞令之鑒定"
|
| 40 |
+
},
|
| 41 |
+
{
|
| 42 |
+
"印記類別": "收傳印記",
|
| 43 |
+
"印主": "卞永譽",
|
| 44 |
+
"印記": "令之"
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"印記類別": "收傳印記",
|
| 48 |
+
"印主": "卞永譽",
|
| 49 |
+
"印記": "仙客"
|
| 50 |
+
},
|
| 51 |
+
{
|
| 52 |
+
"印記類別": "收傳印記",
|
| 53 |
+
"印主": "卞永譽",
|
| 54 |
+
"印記": "式古堂"
|
| 55 |
+
},
|
| 56 |
+
{
|
| 57 |
+
"印記類別": "收傳印記",
|
| 58 |
+
"印主": "卞永譽",
|
| 59 |
+
"印記": "式古堂書畫"
|
| 60 |
+
},
|
| 61 |
+
{
|
| 62 |
+
"印記類別": "收傳印記",
|
| 63 |
+
"印主": "卞永譽",
|
| 64 |
+
"印記": "式古堂書畫印"
|
| 65 |
+
},
|
| 66 |
+
{
|
| 67 |
+
"印記類別": "收傳印記",
|
| 68 |
+
"印主": "沈周",
|
| 69 |
+
"印記": "沈周寶玩"
|
| 70 |
+
},
|
| 71 |
+
{
|
| 72 |
+
"印記類別": "收傳印記",
|
| 73 |
+
"印主": "金章宗",
|
| 74 |
+
"印記": "明昌御覽"
|
| 75 |
+
},
|
| 76 |
+
{
|
| 77 |
+
"印記類別": "收傳印記",
|
| 78 |
+
"印主": "宋徽宗",
|
| 79 |
+
"印記": "政和"
|
| 80 |
+
},
|
| 81 |
+
{
|
| 82 |
+
"印記類別": "收傳印記",
|
| 83 |
+
"印主": "沈周",
|
| 84 |
+
"印記": "啟南"
|
| 85 |
+
},
|
| 86 |
+
{
|
| 87 |
+
"印記類別": "收傳印記",
|
| 88 |
+
"印主": "華雲",
|
| 89 |
+
"印記": "華補菴氏"
|
| 90 |
+
},
|
| 91 |
+
{
|
| 92 |
+
"印記類別": "收傳印記",
|
| 93 |
+
"印主": "劉炳圖",
|
| 94 |
+
"印記": "劉炳圖印"
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"印記類別": "鑑藏寶璽",
|
| 98 |
+
"印主": "清高宗",
|
| 99 |
+
"印記": "石渠寶笈"
|
| 100 |
+
},
|
| 101 |
+
{
|
| 102 |
+
"印記類別": "鑑藏寶璽",
|
| 103 |
+
"印主": "宣統帝",
|
| 104 |
+
"印記": "宣統御覽之寶"
|
| 105 |
+
},
|
| 106 |
+
{
|
| 107 |
+
"印記類別": "鑑藏寶璽",
|
| 108 |
+
"印主": "宣統帝",
|
| 109 |
+
"印記": "宣統鑑賞"
|
| 110 |
+
},
|
| 111 |
+
{
|
| 112 |
+
"印記類別": "鑑藏寶璽",
|
| 113 |
+
"印主": "清高宗",
|
| 114 |
+
"印記": "乾隆御覽之寶"
|
| 115 |
+
},
|
| 116 |
+
{
|
| 117 |
+
"印記類別": "鑑藏寶璽",
|
| 118 |
+
"印主": "清高宗",
|
| 119 |
+
"印記": "御書房鑑藏寶"
|
| 120 |
+
},
|
| 121 |
+
{
|
| 122 |
+
"印記類別": "鑑藏寶璽",
|
| 123 |
+
"印主": "宣統帝",
|
| 124 |
+
"印記": "無逸齋精鑒璽"
|
| 125 |
+
},
|
| 126 |
+
{
|
| 127 |
+
"印記類別": "鑑藏寶璽",
|
| 128 |
+
"印主": "清仁宗",
|
| 129 |
+
"印記": "嘉慶御覽之寶"
|
| 130 |
+
}
|
| 131 |
+
],
|
| 132 |
+
"主題": [
|
| 133 |
+
{
|
| 134 |
+
"主題類別": "主要主題",
|
| 135 |
+
"主題(第一層)": "山水",
|
| 136 |
+
"主題(第二層)": "冬景（雪景）",
|
| 137 |
+
"主題說明": ""
|
| 138 |
+
},
|
| 139 |
+
{
|
| 140 |
+
"主題類別": "其他主題",
|
| 141 |
+
"主題(第一層)": "人物",
|
| 142 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 143 |
+
"主題說明": ""
|
| 144 |
+
},
|
| 145 |
+
{
|
| 146 |
+
"主題類別": "其他主題",
|
| 147 |
+
"主題(第一層)": "人物",
|
| 148 |
+
"主題(第二層)": "樵夫",
|
| 149 |
+
"主題說明": ""
|
| 150 |
+
},
|
| 151 |
+
{
|
| 152 |
+
"主題類別": "其他主題",
|
| 153 |
+
"主題(第一層)": "山水",
|
| 154 |
+
"主題(第二層)": "山徑",
|
| 155 |
+
"主題說明": ""
|
| 156 |
+
},
|
| 157 |
+
{
|
| 158 |
+
"主題類別": "其他主題",
|
| 159 |
+
"主題(第一層)": "山水",
|
| 160 |
+
"主題(第二層)": "江河、湖海",
|
| 161 |
+
"主題說明": ""
|
| 162 |
+
},
|
| 163 |
+
{
|
| 164 |
+
"主題類別": "其他主題",
|
| 165 |
+
"主題(第一層)": "山水",
|
| 166 |
+
"主題(第二層)": "瀑布",
|
| 167 |
+
"主題說明": ""
|
| 168 |
+
},
|
| 169 |
+
{
|
| 170 |
+
"主題類別": "其他主題",
|
| 171 |
+
"主題(第一層)": "建築",
|
| 172 |
+
"主題(第二層)": "房舍",
|
| 173 |
+
"主題說明": ""
|
| 174 |
+
},
|
| 175 |
+
{
|
| 176 |
+
"主題類別": "其他主題",
|
| 177 |
+
"主題(第一層)": "建築",
|
| 178 |
+
"主題(第二層)": "亭",
|
| 179 |
+
"主題說明": ""
|
| 180 |
+
},
|
| 181 |
+
{
|
| 182 |
+
"主題類別": "其他主題",
|
| 183 |
+
"主題(第一層)": "建築",
|
| 184 |
+
"主題(第二層)": "茅草屋",
|
| 185 |
+
"主題說明": ""
|
| 186 |
+
},
|
| 187 |
+
{
|
| 188 |
+
"主題類別": "其他主題",
|
| 189 |
+
"主題(第一層)": "樹木",
|
| 190 |
+
"主題(第二層)": "松",
|
| 191 |
+
"主題說明": ""
|
| 192 |
+
},
|
| 193 |
+
{
|
| 194 |
+
"主題類別": "其他主題",
|
| 195 |
+
"主題(第一層)": "樹木",
|
| 196 |
+
"主題(第二層)": "寒林．枯樹",
|
| 197 |
+
"主題說明": ""
|
| 198 |
+
}
|
| 199 |
+
],
|
| 200 |
+
"技法": [
|
| 201 |
+
{
|
| 202 |
+
"技法": "皴法",
|
| 203 |
+
"技法細目": ""
|
| 204 |
+
}
|
| 205 |
+
],
|
| 206 |
+
"參考資料": {
|
| 207 |
+
"內容簡介": "許道寧(約西元十一世紀)，北宋河間人。初市藥於都門，畫山水以聚觀者，習氣頗深。中年盡變舊學，行筆簡易，林木硬勁，自成一家。舊說許道寧初賣藥於長安，市人有購藥者，必畫樹石兼與之。後游華山，見其峰巒崷崒，始有意於山水，中年成名，稍自檢束，行筆簡易，風度益著云。",
|
| 208 |
+
"Description": "Hsu Tao-ning was a native of Ho-chien, Hopei. He originally sold herbal medicines at the capital gate, painting landscapes to attract customers. At that time, his works were relatively vulgar. During his middle years, he devoted himself to painting, and his style became simpler and more refined. It is said that during his early years as a peddler in Ch'ang-an, Hsu Tao-ning used to paint trees and rocks for his customers. Later, he journeyed to Hua Mountain and seeing its majestic peak towering above him, he was inspired to paint landscapes. After achieving fame in his middle years, he was careful to produce works of only the finest quality.",
|
| 209 |
+
"收藏著錄": [
|
| 210 |
+
"石渠寶笈初編（御書房），下冊，頁1138",
|
| 211 |
+
"故宮書畫錄（卷五），第三冊，頁47",
|
| 212 |
+
"故宮書畫圖錄，第一冊，頁187-188"
|
| 213 |
+
],
|
| 214 |
+
"參考書目": "1.何傳馨，〈(原題宋許道寧)關山密雪圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁260-261。"
|
| 215 |
+
},
|
| 216 |
+
"保存維護": {
|
| 217 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 218 |
+
"相關連結": [
|
| 219 |
+
{
|
| 220 |
+
"文本": "抽盤點紀錄",
|
| 221 |
+
"onclick": "Invertory('故畫000047N000000000')"
|
| 222 |
+
},
|
| 223 |
+
{
|
| 224 |
+
"文本": "修護紀錄",
|
| 225 |
+
"onclick": "Repair('故畫000047N000000000')"
|
| 226 |
+
}
|
| 227 |
+
]
|
| 228 |
+
}
|
| 229 |
+
}
|
data/artifact_1278.json
ADDED
|
@@ -0,0 +1,176 @@
|
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|
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|
|
|
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|
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|
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|
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|
|
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|
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|
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|
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|
|
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|
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|
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|
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|
|
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|
|
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|
|
|
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|
|
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|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
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|
|
|
|
|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1278",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1278?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋許道寧畫雪景 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000048N000000000",
|
| 7 |
+
"作品號": "故畫00004800000",
|
| 8 |
+
"品名": "宋許道寧畫雪景 軸\nSnowscape",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "許道寧",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "169.2x103.2"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "收傳印記",
|
| 29 |
+
"印主": "",
|
| 30 |
+
"印記": "希之"
|
| 31 |
+
},
|
| 32 |
+
{
|
| 33 |
+
"印記類別": "鑑藏寶璽",
|
| 34 |
+
"印主": "清仁宗",
|
| 35 |
+
"印記": "嘉慶御覽之寶"
|
| 36 |
+
}
|
| 37 |
+
],
|
| 38 |
+
"主題": [
|
| 39 |
+
{
|
| 40 |
+
"主題類別": "主要主題",
|
| 41 |
+
"主題(第一層)": "山水",
|
| 42 |
+
"主題(第二層)": "冬景（雪景）",
|
| 43 |
+
"主題說明": ""
|
| 44 |
+
},
|
| 45 |
+
{
|
| 46 |
+
"主題類別": "次要主題",
|
| 47 |
+
"主題(第一層)": "樹木",
|
| 48 |
+
"主題(第二層)": "松",
|
| 49 |
+
"主題說明": ""
|
| 50 |
+
},
|
| 51 |
+
{
|
| 52 |
+
"主題類別": "其他主題",
|
| 53 |
+
"主題(第一層)": "人物",
|
| 54 |
+
"主題(第二層)": "百姓",
|
| 55 |
+
"主題說明": ""
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"主題類別": "其他主題",
|
| 59 |
+
"主題(第一層)": "人物",
|
| 60 |
+
"主題(第二層)": "行旅",
|
| 61 |
+
"主題說明": ""
|
| 62 |
+
},
|
| 63 |
+
{
|
| 64 |
+
"主題類別": "其他主題",
|
| 65 |
+
"主題(第一層)": "人物",
|
| 66 |
+
"主題(第二層)": "侍從（侍女、童僕）",
|
| 67 |
+
"主題說明": ""
|
| 68 |
+
},
|
| 69 |
+
{
|
| 70 |
+
"主題類別": "其他主題",
|
| 71 |
+
"主題(第一層)": "人物",
|
| 72 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 73 |
+
"主題說明": ""
|
| 74 |
+
},
|
| 75 |
+
{
|
| 76 |
+
"主題類別": "其他主題",
|
| 77 |
+
"主題(第一層)": "人物",
|
| 78 |
+
"主題(第二層)": "漁夫、船夫",
|
| 79 |
+
"主題說明": ""
|
| 80 |
+
},
|
| 81 |
+
{
|
| 82 |
+
"主題類別": "其他主題",
|
| 83 |
+
"主題(第一層)": "山水",
|
| 84 |
+
"主題(第二層)": "江河、湖海",
|
| 85 |
+
"主題說明": ""
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"主題類別": "其他主題",
|
| 89 |
+
"主題(第一層)": "山水",
|
| 90 |
+
"主題(第二層)": "溪澗、湍泉",
|
| 91 |
+
"主題說明": ""
|
| 92 |
+
},
|
| 93 |
+
{
|
| 94 |
+
"主題類別": "其他主題",
|
| 95 |
+
"主題(第一層)": "山水",
|
| 96 |
+
"主題(第二層)": "瀑布",
|
| 97 |
+
"主題說明": ""
|
| 98 |
+
},
|
| 99 |
+
{
|
| 100 |
+
"主題類別": "其他主題",
|
| 101 |
+
"主題(第一層)": "建築",
|
| 102 |
+
"主題(第二層)": "亭",
|
| 103 |
+
"主題說明": ""
|
| 104 |
+
},
|
| 105 |
+
{
|
| 106 |
+
"主題類別": "其他主題",
|
| 107 |
+
"主題(第一層)": "建築",
|
| 108 |
+
"主題(第二層)": "茅草屋",
|
| 109 |
+
"主題說明": ""
|
| 110 |
+
},
|
| 111 |
+
{
|
| 112 |
+
"主題類別": "其他主題",
|
| 113 |
+
"主題(第一層)": "建築",
|
| 114 |
+
"主題(第二層)": "臺閣",
|
| 115 |
+
"主題說明": ""
|
| 116 |
+
},
|
| 117 |
+
{
|
| 118 |
+
"主題類別": "其他主題",
|
| 119 |
+
"主題(第一層)": "建築",
|
| 120 |
+
"主題(第二層)": "橋",
|
| 121 |
+
"主題說明": ""
|
| 122 |
+
},
|
| 123 |
+
{
|
| 124 |
+
"主題類別": "其他主題",
|
| 125 |
+
"主題(第一層)": "建築",
|
| 126 |
+
"主題(第二層)": "籬笆、圍牆",
|
| 127 |
+
"主題說明": ""
|
| 128 |
+
},
|
| 129 |
+
{
|
| 130 |
+
"主題類別": "其他主題",
|
| 131 |
+
"主題(第一層)": "船",
|
| 132 |
+
"主題(第二層)": "漁船",
|
| 133 |
+
"主題說明": ""
|
| 134 |
+
},
|
| 135 |
+
{
|
| 136 |
+
"主題類別": "其他主題",
|
| 137 |
+
"主題(第一層)": "船",
|
| 138 |
+
"主題(第二層)": "篷舟",
|
| 139 |
+
"主題說明": ""
|
| 140 |
+
},
|
| 141 |
+
{
|
| 142 |
+
"主題類別": "其他主題",
|
| 143 |
+
"主題(第一層)": "樹木",
|
| 144 |
+
"主題(第二層)": "寒林．枯樹",
|
| 145 |
+
"主題說明": ""
|
| 146 |
+
}
|
| 147 |
+
],
|
| 148 |
+
"技法": [
|
| 149 |
+
{
|
| 150 |
+
"技法": "皴法",
|
| 151 |
+
"技法細目": ""
|
| 152 |
+
}
|
| 153 |
+
],
|
| 154 |
+
"參考資料": {
|
| 155 |
+
"內容簡介": "許道寧(約西元十一世紀)，北宋河間人。初市藥於都門，畫山水以聚觀者，習氣頗深。中年盡變舊學，行筆簡易，林木硬勁，自成一家。崇山峻嶺，峰巒積雪，百木俱凋，蒼松挺立。雪江中，漁夫披簑垂釣，溪畔上，三人圍爐飲酒。通幅以墨渲染水天，更覺陰冷蕭瑟。",
|
| 156 |
+
"Description": "Hsu Tao-ning was a native of Ho-chien, Hopei. He originally sold herbal medicines at the capital gate, painting landscapes to attract customers. At that time, his works were relatively common. However, during his middle years, he completely changed his style, his brushwork becoming simpler and more refined. In this painting are lofty and precipitous crags with accumulated snow, hundreds of trees all withered, only hoary pines standing tall. On a snowy river, old fishermen in straw raincoats are angling. On the shore are three people circled around a fire and drinking wine. Both the sky and water in the entire scroll have been done with ink washes, imparting even more coldness, gloom and desolation to the painting.",
|
| 157 |
+
"收藏著錄": [
|
| 158 |
+
"故宮書畫錄（卷五），第三冊，頁48",
|
| 159 |
+
"故宮書畫圖錄，第一冊，頁193-194"
|
| 160 |
+
],
|
| 161 |
+
"參考書目": "1.本社，〈宋許道寧雪景〉，《故宮文物月刊》，第57期（1987年12月），封底裡。"
|
| 162 |
+
},
|
| 163 |
+
"保存維護": {
|
| 164 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 165 |
+
"相關連結": [
|
| 166 |
+
{
|
| 167 |
+
"文本": "抽盤點紀錄",
|
| 168 |
+
"onclick": "Invertory('故畫000048N000000000')"
|
| 169 |
+
},
|
| 170 |
+
{
|
| 171 |
+
"文本": "修護紀錄",
|
| 172 |
+
"onclick": "Repair('故畫000048N000000000')"
|
| 173 |
+
}
|
| 174 |
+
]
|
| 175 |
+
}
|
| 176 |
+
}
|
data/artifact_1280.json
ADDED
|
@@ -0,0 +1,165 @@
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|
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|
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|
|
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|
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|
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|
|
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|
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|
|
|
|
|
|
|
|
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|
|
|
|
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|
|
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|
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|
|
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|
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|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
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|
|
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|
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|
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|
|
|
|
|
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|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1280",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1280?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋郭熙關山春雪圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000055N000000000",
|
| 7 |
+
"作品號": "故畫00005500000",
|
| 8 |
+
"品名": "宋郭熙關山春雪圖 軸\nSpring Snow on a Mountain Pass",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "郭熙,Guo Xi",
|
| 11 |
+
"創作時間": "宋神宗熙寧八年（1072）",
|
| 12 |
+
"數量": "一軸"
|
| 13 |
+
},
|
| 14 |
+
"典藏尺寸": [
|
| 15 |
+
{
|
| 16 |
+
"位置": "本幅",
|
| 17 |
+
"尺寸(公分)": "179.1x51.2"
|
| 18 |
+
}
|
| 19 |
+
],
|
| 20 |
+
"質地": [
|
| 21 |
+
{
|
| 22 |
+
"質地位置": "本幅",
|
| 23 |
+
"質地": "絹"
|
| 24 |
+
}
|
| 25 |
+
],
|
| 26 |
+
"題跋資料": [
|
| 27 |
+
{
|
| 28 |
+
"題跋類別": "作者款識",
|
| 29 |
+
"作者": "郭熙",
|
| 30 |
+
"位置": "本幅",
|
| 31 |
+
"款識": "熙寧壬子（西元一○七二年）二月。奉王旨畫關山春雪之圖。臣熙進。",
|
| 32 |
+
"書體": "隸書",
|
| 33 |
+
"全文": ""
|
| 34 |
+
}
|
| 35 |
+
],
|
| 36 |
+
"印記資料": [
|
| 37 |
+
{
|
| 38 |
+
"印記類別": "收傳印記",
|
| 39 |
+
"印主": "",
|
| 40 |
+
"印記": "一印不可辨"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "收傳印記",
|
| 44 |
+
"印主": "",
|
| 45 |
+
"印記": "御書（半印）"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "鑑藏寶璽",
|
| 49 |
+
"印主": "清仁宗",
|
| 50 |
+
"印記": "三希堂精鑑璽"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "鑑藏寶璽",
|
| 54 |
+
"印主": "清仁宗",
|
| 55 |
+
"印記": "石渠寶笈"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "鑑藏寶璽",
|
| 59 |
+
"印主": "清仁宗",
|
| 60 |
+
"印記": "宜子孫"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "鑑藏寶璽",
|
| 64 |
+
"印主": "清宣統帝",
|
| 65 |
+
"印記": "宣統御覽之寶"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "鑑藏寶璽",
|
| 69 |
+
"印主": "清仁宗",
|
| 70 |
+
"印記": "嘉慶御覽之寶"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "鑑藏寶璽",
|
| 74 |
+
"印主": "清仁宗",
|
| 75 |
+
"印記": "嘉慶鑑賞"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "鑑藏寶璽",
|
| 79 |
+
"印主": "清仁宗",
|
| 80 |
+
"印記": "寶笈三編"
|
| 81 |
+
}
|
| 82 |
+
],
|
| 83 |
+
"主題": [
|
| 84 |
+
{
|
| 85 |
+
"主題類別": "主要主題",
|
| 86 |
+
"主題(第一層)": "山水",
|
| 87 |
+
"主題(第二層)": "冬景（雪景）",
|
| 88 |
+
"主題說明": "春雪"
|
| 89 |
+
},
|
| 90 |
+
{
|
| 91 |
+
"主題類別": "其他主題",
|
| 92 |
+
"主題(第一層)": "山水",
|
| 93 |
+
"主題(第二層)": "溪澗、湍泉",
|
| 94 |
+
"主題說明": ""
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"主題類別": "其他主題",
|
| 98 |
+
"主題(第一層)": "山水",
|
| 99 |
+
"主題(第二層)": "瀑布",
|
| 100 |
+
"主題說明": ""
|
| 101 |
+
},
|
| 102 |
+
{
|
| 103 |
+
"主題類別": "其他主題",
|
| 104 |
+
"主題(第一層)": "建築",
|
| 105 |
+
"主題(第二層)": "水利",
|
| 106 |
+
"主題說明": ""
|
| 107 |
+
},
|
| 108 |
+
{
|
| 109 |
+
"主題類別": "其他主題",
|
| 110 |
+
"主題(第一層)": "建築",
|
| 111 |
+
"主題(第二層)": "臺閣",
|
| 112 |
+
"主題說明": ""
|
| 113 |
+
},
|
| 114 |
+
{
|
| 115 |
+
"主題類別": "其他主題",
|
| 116 |
+
"主題(第一層)": "樹木",
|
| 117 |
+
"主題(第二層)": "松",
|
| 118 |
+
"主題說明": ""
|
| 119 |
+
},
|
| 120 |
+
{
|
| 121 |
+
"主題類別": "其他主題",
|
| 122 |
+
"主題(第一層)": "樹木",
|
| 123 |
+
"主題(第二層)": "柏",
|
| 124 |
+
"主題說明": ""
|
| 125 |
+
},
|
| 126 |
+
{
|
| 127 |
+
"主題類別": "其他主題",
|
| 128 |
+
"主題(第一層)": "樹木",
|
| 129 |
+
"主題(第二層)": "寒林．枯樹",
|
| 130 |
+
"主題說明": ""
|
| 131 |
+
}
|
| 132 |
+
],
|
| 133 |
+
"技法": [
|
| 134 |
+
{
|
| 135 |
+
"技法": "界畫",
|
| 136 |
+
"技法細目": ""
|
| 137 |
+
},
|
| 138 |
+
{
|
| 139 |
+
"技法": "皴法",
|
| 140 |
+
"技法細目": ""
|
| 141 |
+
}
|
| 142 |
+
],
|
| 143 |
+
"參考資料": {
|
| 144 |
+
"內容簡介": "郭熙(約一０二０-一０九０前後)，河南溫縣人，字淳夫，神宗朝御畫院藝學。工畫山水，師法李成，而能自放胸臆。另創影壁山水一種，即後世塑壁山水。又精繪畫理論，著有「林泉高致」一書，專論山水畫。郭熙山水深得李成真傳，小變其法，蟹爪樹枝與雲頭皴法是其特色。此幅林木寒肅，山頭峻厚，情景極佳。",
|
| 145 |
+
"Description": "Kuo Hsi (style name; Shun-fu) came from Wen-hsien, Honan. He joined the Painting Academy in 1068 by command of the Emperor Shen-tsung. He was an excellent Painter of landscapes. Though he modelled his works on those of Li Ch'eng (916-967), his paintings express his own ideas and feelings. He founded the ying-pi style of landscape wall painting in which shadows on an irregular surface guide the painter. He was also the author of an important treatise on landscape painting, the Lin-ch'uan Kao-chih. Kuo Hsi's paintings are very close in style to those of Li Ch'eng. The special characteristics of his paintings were the use of crab-claw strokes to depict branches of trees and his texture strokes for clouds. This painting shows a bitterly cold forest set among soaring peaks. It is a masterpiece of the landscape genre.",
|
| 146 |
+
"收藏著錄": [
|
| 147 |
+
"石渠寶笈三編（延春閣），第三冊，頁1393",
|
| 148 |
+
"故宮書畫錄（卷五），第三冊，頁53-54",
|
| 149 |
+
"故宮書畫圖錄，第一冊，頁215-216"
|
| 150 |
+
]
|
| 151 |
+
},
|
| 152 |
+
"保存維護": {
|
| 153 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 154 |
+
"相關連結": [
|
| 155 |
+
{
|
| 156 |
+
"文本": "抽盤點紀錄",
|
| 157 |
+
"onclick": "Invertory('故畫000055N000000000')"
|
| 158 |
+
},
|
| 159 |
+
{
|
| 160 |
+
"文本": "修護紀錄",
|
| 161 |
+
"onclick": "Repair('故畫000055N000000000')"
|
| 162 |
+
}
|
| 163 |
+
]
|
| 164 |
+
}
|
| 165 |
+
}
|
data/artifact_1281.json
ADDED
|
@@ -0,0 +1,153 @@
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
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|
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|
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|
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|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
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|
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|
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|
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|
|
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|
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|
|
|
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|
|
|
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|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
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|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1281",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1281?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋郭熙寒林圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000054N000000000",
|
| 7 |
+
"作品號": "故畫00005400000",
|
| 8 |
+
"品名": "宋郭熙寒林圖 軸\nA Wintry Forest",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "郭熙",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "153x98.8"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "收傳印記",
|
| 29 |
+
"印主": "耿昭忠",
|
| 30 |
+
"印記": "丹誠"
|
| 31 |
+
},
|
| 32 |
+
{
|
| 33 |
+
"印記類別": "收傳印記",
|
| 34 |
+
"印主": "耿昭忠",
|
| 35 |
+
"印記": "公"
|
| 36 |
+
},
|
| 37 |
+
{
|
| 38 |
+
"印記類別": "收傳印記",
|
| 39 |
+
"印主": "耿昭忠",
|
| 40 |
+
"印記": "宜爾子孫"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "收傳印記",
|
| 44 |
+
"印主": "耿昭忠",
|
| 45 |
+
"印記": "信公真賞"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "收傳印記",
|
| 49 |
+
"印主": "耿昭忠",
|
| 50 |
+
"印記": "珍秘"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "收傳印記",
|
| 54 |
+
"印主": "耿昭忠",
|
| 55 |
+
"印記": "真賞"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "收傳印記",
|
| 59 |
+
"印主": "耿昭忠",
|
| 60 |
+
"印記": "都尉耿信公書畫之章"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "收傳印記",
|
| 64 |
+
"印主": "耿昭忠",
|
| 65 |
+
"印記": "琴書堂"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "鑑藏寶璽",
|
| 69 |
+
"印主": "清仁宗",
|
| 70 |
+
"印記": "三希堂精鑑璽"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "鑑藏寶璽",
|
| 74 |
+
"印主": "清仁宗",
|
| 75 |
+
"印記": "石渠寶笈"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "鑑藏寶璽",
|
| 79 |
+
"印主": "清仁宗",
|
| 80 |
+
"印記": "宜子孫"
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"印記類別": "鑑藏寶璽",
|
| 84 |
+
"印主": "宣統帝",
|
| 85 |
+
"印記": "宣統御覽之寶"
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"印記類別": "鑑藏寶璽",
|
| 89 |
+
"印主": "清仁宗",
|
| 90 |
+
"印記": "嘉慶御覽之寶"
|
| 91 |
+
},
|
| 92 |
+
{
|
| 93 |
+
"印記類別": "鑑藏寶璽",
|
| 94 |
+
"印主": "清仁宗",
|
| 95 |
+
"印記": "嘉慶鑑賞"
|
| 96 |
+
},
|
| 97 |
+
{
|
| 98 |
+
"印記類別": "鑑藏寶璽",
|
| 99 |
+
"印主": "清仁宗",
|
| 100 |
+
"印記": "寶笈三編"
|
| 101 |
+
}
|
| 102 |
+
],
|
| 103 |
+
"主題": [
|
| 104 |
+
{
|
| 105 |
+
"主題類別": "主要主題",
|
| 106 |
+
"主題(第一層)": "山水",
|
| 107 |
+
"主題(第二層)": "冬景（雪景）",
|
| 108 |
+
"主題說明": ""
|
| 109 |
+
},
|
| 110 |
+
{
|
| 111 |
+
"主題類別": "主要主題",
|
| 112 |
+
"主題(第一層)": "樹木",
|
| 113 |
+
"主題(第二層)": "柏",
|
| 114 |
+
"主題說明": ""
|
| 115 |
+
},
|
| 116 |
+
{
|
| 117 |
+
"主題類別": "主要主題",
|
| 118 |
+
"主題(第一層)": "樹木",
|
| 119 |
+
"主題(第二層)": "寒林．枯樹",
|
| 120 |
+
"主題說明": ""
|
| 121 |
+
}
|
| 122 |
+
],
|
| 123 |
+
"技法": [
|
| 124 |
+
{
|
| 125 |
+
"技法": "無皴",
|
| 126 |
+
"技法細目": ""
|
| 127 |
+
}
|
| 128 |
+
],
|
| 129 |
+
"參考資料": {
|
| 130 |
+
"內容簡介": "郭熙(十一世紀後葉)，河南溫縣人，神宗熙寧年間(1068-1077)任畫院藝學。善山水，畫法學自李成，而能樹立一己的面貌。本幅舊傳為郭熙所作。畫中林木，業已落葉凋零，僅存如龍舞爪般的老幹枯枝，與殘餘點點綠葉的斑駁古柏，挺立在孤孑突兀的坡土上，有種蕭瑟嚴寒的氣象。畫法上無論畫樹或山石，用筆都遒勁有力，墨色層層渲染，加重了灰黯的天空，襯白了寒雪，更顯得景物蕭條荒遠。",
|
| 131 |
+
"Description": "Kuo Hsi was from Wen County, Honan. He served as an apprentice artist in the Imperial Academy of Painting under Emperor Shen-tsung from 1068 to 1077. His specialty was landscapes, and although he was heavily influenced by Li Ch'eng, Kuo Hsi developed his own personal style. In this painting, traditionally attribute to Kuo Hsi, a cold and snowy forest has been described. The leaves have already withered and fallen into decay. All that remains are the dry and barren branches, waving like dragons'claws in the chilly breeze. The mottle old cypress, with only a touch of green remaining, stands erect on a steep and lonely slope. The overall mood is one of desolation and bitter cold. In terms of techniqhe, the brushwork depicting trees and rocks is firm and powerful. In the layering of ink tones and washes, a striking contrast has been achieved between the gloomy sky, barren scenery, and the whiteness of the snow.",
|
| 132 |
+
"收藏著錄": [
|
| 133 |
+
"石渠寶笈三編（延春閣），第三冊，頁1394",
|
| 134 |
+
"故宮書畫錄（卷五），第三冊，頁53",
|
| 135 |
+
"故宮書畫圖錄，第一冊，頁217-218"
|
| 136 |
+
],
|
| 137 |
+
"研究性論著": "冬日空曠的堤岸一角，枯樹林立，伸展如蟹爪般的枝梢。前端一株高大的古柏拔地而起，虯枝翻轉，狀若偃蓋。遠山數疊，形勢低平，地面和山頭都積了一層深雪，坡腳斜斜交錯，逐漸沒遠方。天際空闊窅黯，益發顯出一股蕭瑟幽森的氣氛。\r\n\r\n用凹凸起伏的線條勾勒樹的輪廓，再用墨線，悉心皴出縷縷細紋，樹幹上端與枝梢略抹一道白線，或點綴白粉，以寫雪意。遠山不皴，以深淺墨色烘染，天空約占半幅，渲染深墨，反映出被雪覆蓋的地面與山巒。構圖以寒林為主景，置於畫面左半幅，背山簡略，以平遠法表現，藉以襯托近景寒林高大挺拔的身影。\r\n\r\n十至十一世紀，北方畫家間有一類以「平遠寒林」或「山水寒林」為主題的山水畫，論者認為這類畫題一方面延續唐代水墨「山水樹石」、「松石山水」傳統，另一方面與華北特有的地方景觀有關，成為華北山水畫的主題之一，描寫形式也有一定的格局。平遠寒林的代表畫家首推五代時期的李成（919--967），宋人形容他的畫風特色是: 「氣象蕭疏，煙林清曠，毫鋒穎脫，墨法精微」。（註一）此幅無作者款印，清宮著錄歸為宋代郭熙（活動於十一世紀），不過從畫的主題來看，應屬於李成的平遠寒林一系。從樹與坡石的畫法已約略有形式化的傾向來看，可能與十三世紀南宋末到元代初年間仿古山水畫風有關。（註二）（何傳馨）\r\n\r\n（註一）郭若虛，《圖畫見聞誌》，收錄於于安瀾編，《畫史叢書》（上海: 上海人民美術出版社，1962），第一冊，卷一，頁12，〈論三家山水》。參見李霖燦，〈寒林一系圖畫的初步探討〉，收錄於李霖燦，《中國名畫研究》（台北:藝文印書館，1973），頁275--280。鈴木敬著，魏美月譯，《中國繪畫史》（上）（台北: 國立故宮博物院，1987），頁159--160。\r\n（註二）參見Wen C. Fong, Images of the Mind, (Princeton: The Art Museum, PrincetonUniversity, 1984), pp. 65-68.",
|
| 138 |
+
"參考書目": "1.林莉娜，〈宋郭熙寒林圖〉，收入林莉娜、張華芝編，《冬景山水畫特展圖錄》（臺北：國立故宮博物院，1989年元月初版），頁57。"
|
| 139 |
+
},
|
| 140 |
+
"保存維護": {
|
| 141 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 142 |
+
"相關連結": [
|
| 143 |
+
{
|
| 144 |
+
"文本": "抽盤點紀錄",
|
| 145 |
+
"onclick": "Invertory('故畫000054N000000000')"
|
| 146 |
+
},
|
| 147 |
+
{
|
| 148 |
+
"文本": "修護紀錄",
|
| 149 |
+
"onclick": "Repair('故畫000054N000000000')"
|
| 150 |
+
}
|
| 151 |
+
]
|
| 152 |
+
}
|
| 153 |
+
}
|
data/artifact_1286.json
ADDED
|
@@ -0,0 +1,200 @@
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|
|
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|
|
|
|
|
|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1286",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1286?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋郭熙豐年瑞雪圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000058N000000000",
|
| 7 |
+
"作品號": "故畫00005800000",
|
| 8 |
+
"品名": "宋郭熙豐年瑞雪圖 軸",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "郭熙",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "120.4x74.7"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "鑑藏寶璽",
|
| 29 |
+
"印主": "清內府印",
|
| 30 |
+
"印記": "三希堂精鑑璽"
|
| 31 |
+
},
|
| 32 |
+
{
|
| 33 |
+
"印記類別": "鑑藏寶璽",
|
| 34 |
+
"印主": "清內府印",
|
| 35 |
+
"印記": "石渠寶笈"
|
| 36 |
+
},
|
| 37 |
+
{
|
| 38 |
+
"印記類別": "鑑藏寶璽",
|
| 39 |
+
"印主": "清內府印",
|
| 40 |
+
"印記": "宜子孫"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "鑑藏寶璽",
|
| 44 |
+
"印主": "宣統帝",
|
| 45 |
+
"印記": "宣統御覽之寶"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "鑑藏寶璽",
|
| 49 |
+
"印主": "清仁宗",
|
| 50 |
+
"印記": "嘉慶御覽之寶"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "鑑藏寶璽",
|
| 54 |
+
"印主": "清仁宗",
|
| 55 |
+
"印記": "嘉慶鑑賞"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "鑑藏寶璽",
|
| 59 |
+
"印主": "清仁宗",
|
| 60 |
+
"印記": "寶笈三編"
|
| 61 |
+
}
|
| 62 |
+
],
|
| 63 |
+
"主題": [
|
| 64 |
+
{
|
| 65 |
+
"主題類別": "主要主題",
|
| 66 |
+
"主題(第一層)": "山水",
|
| 67 |
+
"主題(第二層)": "冬景（雪景）",
|
| 68 |
+
"主題說明": ""
|
| 69 |
+
},
|
| 70 |
+
{
|
| 71 |
+
"主題類別": "主要主題",
|
| 72 |
+
"主題(第一層)": "船",
|
| 73 |
+
"主題(第二層)": "",
|
| 74 |
+
"主題說明": "貨船"
|
| 75 |
+
},
|
| 76 |
+
{
|
| 77 |
+
"主題類別": "其他主題",
|
| 78 |
+
"主題(第一層)": "人物",
|
| 79 |
+
"主題(第二層)": "百姓",
|
| 80 |
+
"主題說明": ""
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"主題類別": "其他主題",
|
| 84 |
+
"主題(第一層)": "人物",
|
| 85 |
+
"主題(第二層)": "行旅",
|
| 86 |
+
"主題說明": ""
|
| 87 |
+
},
|
| 88 |
+
{
|
| 89 |
+
"主題類別": "其他主題",
|
| 90 |
+
"主題(第一層)": "人物",
|
| 91 |
+
"主題(第二層)": "侍從（侍女、童僕）",
|
| 92 |
+
"主題說明": ""
|
| 93 |
+
},
|
| 94 |
+
{
|
| 95 |
+
"主題類別": "其他主題",
|
| 96 |
+
"主題(第一層)": "人物",
|
| 97 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 98 |
+
"主題說明": ""
|
| 99 |
+
},
|
| 100 |
+
{
|
| 101 |
+
"主題類別": "其他主題",
|
| 102 |
+
"主題(第一層)": "人物",
|
| 103 |
+
"主題(第二層)": "漁夫、船夫",
|
| 104 |
+
"主題說明": ""
|
| 105 |
+
},
|
| 106 |
+
{
|
| 107 |
+
"主題類別": "其他主題",
|
| 108 |
+
"主題(第一層)": "人物",
|
| 109 |
+
"主題(第二層)": "縴夫",
|
| 110 |
+
"主題說明": ""
|
| 111 |
+
},
|
| 112 |
+
{
|
| 113 |
+
"主題類別": "其他主題",
|
| 114 |
+
"主題(第一層)": "山水",
|
| 115 |
+
"主題(第二層)": "江河、湖海",
|
| 116 |
+
"主題說明": ""
|
| 117 |
+
},
|
| 118 |
+
{
|
| 119 |
+
"主題類別": "其他主題",
|
| 120 |
+
"主題(第一層)": "走獸",
|
| 121 |
+
"主題(第二層)": "騾．驢",
|
| 122 |
+
"主題說明": ""
|
| 123 |
+
},
|
| 124 |
+
{
|
| 125 |
+
"主題類別": "其他主題",
|
| 126 |
+
"主題(第一層)": "建築",
|
| 127 |
+
"主題(第二層)": "店舖",
|
| 128 |
+
"主題說明": ""
|
| 129 |
+
},
|
| 130 |
+
{
|
| 131 |
+
"主題類別": "其他主題",
|
| 132 |
+
"主題(第一層)": "建築",
|
| 133 |
+
"主題(第二層)": "茅草屋",
|
| 134 |
+
"主題說明": ""
|
| 135 |
+
},
|
| 136 |
+
{
|
| 137 |
+
"主題類別": "其他主題",
|
| 138 |
+
"主題(第一層)": "建築",
|
| 139 |
+
"主題(第二層)": "塔",
|
| 140 |
+
"主題說明": ""
|
| 141 |
+
},
|
| 142 |
+
{
|
| 143 |
+
"主題類別": "其他主題",
|
| 144 |
+
"主題(第一層)": "建築",
|
| 145 |
+
"主題(第二層)": "橋",
|
| 146 |
+
"主題說明": ""
|
| 147 |
+
},
|
| 148 |
+
{
|
| 149 |
+
"主題類別": "其他主題",
|
| 150 |
+
"主題(第一層)": "船",
|
| 151 |
+
"主題(第二層)": "帆船",
|
| 152 |
+
"主題說明": ""
|
| 153 |
+
},
|
| 154 |
+
{
|
| 155 |
+
"主題類別": "其他主題",
|
| 156 |
+
"主題(第一層)": "器用",
|
| 157 |
+
"主題(第二層)": "傢俱（屏風）",
|
| 158 |
+
"主題說明": ""
|
| 159 |
+
},
|
| 160 |
+
{
|
| 161 |
+
"主題類別": "其他主題",
|
| 162 |
+
"主題(第一層)": "樹木",
|
| 163 |
+
"主題(第二層)": "",
|
| 164 |
+
"主題說明": ""
|
| 165 |
+
},
|
| 166 |
+
{
|
| 167 |
+
"主題類別": "其他主題",
|
| 168 |
+
"主題(第一層)": "樹木",
|
| 169 |
+
"主題(第二層)": "竹",
|
| 170 |
+
"主題說明": ""
|
| 171 |
+
}
|
| 172 |
+
],
|
| 173 |
+
"技法": [
|
| 174 |
+
{
|
| 175 |
+
"技法": "皴法",
|
| 176 |
+
"技法細目": ""
|
| 177 |
+
}
|
| 178 |
+
],
|
| 179 |
+
"參考資料": {
|
| 180 |
+
"收藏著錄": [
|
| 181 |
+
"石渠寶笈三編（延春閣），第三冊，頁1394",
|
| 182 |
+
"故宮書畫錄（卷五），第三冊，頁55",
|
| 183 |
+
"故宮書畫圖錄，第一冊，頁225-226"
|
| 184 |
+
],
|
| 185 |
+
"參考書目": "1.〈傳宋郭熙豐年瑞雪（明周文靖）〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁173。"
|
| 186 |
+
},
|
| 187 |
+
"保存維護": {
|
| 188 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 189 |
+
"相關連結": [
|
| 190 |
+
{
|
| 191 |
+
"文本": "抽盤點紀錄",
|
| 192 |
+
"onclick": "Invertory('故畫000058N000000000')"
|
| 193 |
+
},
|
| 194 |
+
{
|
| 195 |
+
"文本": "修護紀錄",
|
| 196 |
+
"onclick": "Repair('故畫000058N000000000')"
|
| 197 |
+
}
|
| 198 |
+
]
|
| 199 |
+
}
|
| 200 |
+
}
|
data/artifact_1288.json
ADDED
|
@@ -0,0 +1,94 @@
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1288",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1288?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋崔白蘆花羲愛 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000061N000000000",
|
| 7 |
+
"作品號": "故畫00006100000",
|
| 8 |
+
"品名": "宋崔白蘆花羲愛 軸\nReeds and Goose",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "崔白",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "141.2x86.3"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "鑑藏寶璽",
|
| 29 |
+
"印主": "宣統帝",
|
| 30 |
+
"印記": "宣統御覽之寶"
|
| 31 |
+
}
|
| 32 |
+
],
|
| 33 |
+
"主題": [
|
| 34 |
+
{
|
| 35 |
+
"主題類別": "主要主題",
|
| 36 |
+
"主題(第一層)": "山水",
|
| 37 |
+
"主題(第二層)": "秋景",
|
| 38 |
+
"主題說明": ""
|
| 39 |
+
},
|
| 40 |
+
{
|
| 41 |
+
"主題類別": "主要主題",
|
| 42 |
+
"主題(第一層)": "翎毛",
|
| 43 |
+
"主題(第二層)": "鵝",
|
| 44 |
+
"主題說明": ""
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"主題類別": "其他主題",
|
| 48 |
+
"主題(第一層)": "花草",
|
| 49 |
+
"主題(第二層)": "",
|
| 50 |
+
"主題說明": ""
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"主題類別": "其他主題",
|
| 54 |
+
"主題(第一層)": "花草",
|
| 55 |
+
"主題(第二層)": "蘆葦",
|
| 56 |
+
"主題說明": ""
|
| 57 |
+
}
|
| 58 |
+
],
|
| 59 |
+
"技法": [
|
| 60 |
+
{
|
| 61 |
+
"技法": "工筆",
|
| 62 |
+
"技法細目": ""
|
| 63 |
+
},
|
| 64 |
+
{
|
| 65 |
+
"技法": "皴法",
|
| 66 |
+
"技法細目": ""
|
| 67 |
+
},
|
| 68 |
+
{
|
| 69 |
+
"技法": "雙鉤",
|
| 70 |
+
"技法細目": ""
|
| 71 |
+
}
|
| 72 |
+
],
|
| 73 |
+
"參考資料": {
|
| 74 |
+
"內容簡介": "崔白(西元十一世紀)，安徽濠梁人，字子西，工畫花竹翎毛，以畫枯荷鳧雁得名，但也精於道釋、人物、鬼神。據說他作畫不起稿，畫長絃挺刃，不用直尺界筆。宋神宗熙寧初(約西元1068年)受命與艾宣、丁貺、葛守昌等人畫垂拱殿屏風，頗受讚賞，補為圖畫院藝學。此圖繪蘆岸間，一鵝昂首獨立。蘆葉經霜，殘綠猶存。鵝身描繪精細，羽毛纖毫畢顯，極為寫實。本幅舊傳為崔白所作。",
|
| 75 |
+
"Description": "Ts’ui Po, whose style name was Tzu-hsi,was a native of Hao-liang, Anhwei. He was a skilled painter of birds and flowers, acquiring fame for his portrayals of withered lotus plants and water fowl in particular. Ts’ui Po is said to have worked without a ruler or compass and to have painted directly, without preliminary drafts--remarkable comments in consideration of the exacting, realistic style associated with his name. Circa 1068, Ts’ui Po was one of a number of painters who received imperial commissions from Emperor Shen-tsung, and, following his successes in this endeavor, he was appointed as a student in the Painting Academy. A lone goose raises its head among water reeds. The leaves have been bitten by frost, though some green remains.The goose is painted with extreme detail, a fine brush delineating his feather. The painting, although a traditional attriution to Ts’ui Po, is an excellent example of realistic depiction.",
|
| 76 |
+
"收藏著錄": [
|
| 77 |
+
"故宮書畫錄（卷五），第三冊，頁58-59",
|
| 78 |
+
"故宮書畫圖錄，第一冊，頁253-254"
|
| 79 |
+
]
|
| 80 |
+
},
|
| 81 |
+
"保存維護": {
|
| 82 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 83 |
+
"相關連結": [
|
| 84 |
+
{
|
| 85 |
+
"文本": "抽盤點紀錄",
|
| 86 |
+
"onclick": "Invertory('故畫000061N000000000')"
|
| 87 |
+
},
|
| 88 |
+
{
|
| 89 |
+
"文本": "修護紀錄",
|
| 90 |
+
"onclick": "Repair('故畫000061N000000000')"
|
| 91 |
+
}
|
| 92 |
+
]
|
| 93 |
+
}
|
| 94 |
+
}
|
data/artifact_1291.json
ADDED
|
@@ -0,0 +1,110 @@
|
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|
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|
|
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|
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|
|
|
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|
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|
|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
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|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1291",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1291?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋崔白蘆汀宿雁 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000062N000000000",
|
| 7 |
+
"作品號": "故畫00006200000",
|
| 8 |
+
"品名": "宋崔白蘆汀宿雁 軸\nWild Goose Resting on a Shoal",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "崔白",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "106.5x51"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "收傳印記",
|
| 29 |
+
"印主": "",
|
| 30 |
+
"印記": "（鈐印一不可辨）"
|
| 31 |
+
},
|
| 32 |
+
{
|
| 33 |
+
"印記類別": "收傳印記",
|
| 34 |
+
"印主": "",
|
| 35 |
+
"印記": "□氏廷璧"
|
| 36 |
+
},
|
| 37 |
+
{
|
| 38 |
+
"印記類別": "收傳印記",
|
| 39 |
+
"印主": "卞永譽",
|
| 40 |
+
"印記": "令之氏一字仙客"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "收傳印記",
|
| 44 |
+
"印主": "卞永譽",
|
| 45 |
+
"印記": "式古堂書畫印"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "收傳印記",
|
| 49 |
+
"印主": "安岐",
|
| 50 |
+
"印記": "御題圖書府"
|
| 51 |
+
}
|
| 52 |
+
],
|
| 53 |
+
"主題": [
|
| 54 |
+
{
|
| 55 |
+
"主題類別": "主要主題",
|
| 56 |
+
"主題(第一層)": "翎毛",
|
| 57 |
+
"主題(第二層)": "雁",
|
| 58 |
+
"主題說明": ""
|
| 59 |
+
},
|
| 60 |
+
{
|
| 61 |
+
"主題類別": "次要主題",
|
| 62 |
+
"主題(第一層)": "花草",
|
| 63 |
+
"主題(第二層)": "蘆葦",
|
| 64 |
+
"主題說明": ""
|
| 65 |
+
},
|
| 66 |
+
{
|
| 67 |
+
"主題類別": "其他主題",
|
| 68 |
+
"主題(第一層)": "山水",
|
| 69 |
+
"主題(第二層)": "江河、湖海",
|
| 70 |
+
"主題說明": ""
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"主題類別": "其他主題",
|
| 74 |
+
"主題(第一層)": "花草",
|
| 75 |
+
"主題(第二層)": "",
|
| 76 |
+
"主題說明": ""
|
| 77 |
+
}
|
| 78 |
+
],
|
| 79 |
+
"技法": [
|
| 80 |
+
{
|
| 81 |
+
"技法": "工筆",
|
| 82 |
+
"技法細目": ""
|
| 83 |
+
},
|
| 84 |
+
{
|
| 85 |
+
"技法": "雙鉤",
|
| 86 |
+
"技法細目": ""
|
| 87 |
+
}
|
| 88 |
+
],
|
| 89 |
+
"參考資料": {
|
| 90 |
+
"內容簡介": "崔白(西元十一世紀)，濠梁(今安徽鳳陽)人，字子西，仁宗時(1022-1063)選入畫院為藝學，工畫花竹翎毛。根據記載，崔白以擅畫枯荷鳧雁而得名，故後人常將此類題材之作品歸於其名下，本幅即是一例。構圖用筆均簡潔的坡岸、蘆雁，與崔白寫實的筆墨風格不相類，卻有著元代古拙樸質的感覺。",
|
| 91 |
+
"Description": "Ts’ui Po, (style name Tzu-hsi) was a native of Hao-liang ( modern Feng-yang, Anhwei). He entered the painting academy during the reign of Jen-tsung(r.1022-1063) as a Student and specialized in painting birds, small animals, flowers, and bamboo. According to history descriptions, Ts’ui Po became famous for his depictions of withered lotuses and waterfowl. As a result, later collectors would often ascribe works of this subject matter to his name. This painting is such an example. However, the abbreviated nature of the composition and brushwork describing this goose resting on a shoal with reeds differs somewhat from the actual style associated with Ts’ui Po. This painting is related to the archaic and primitive styles advocated in the Yuan dynasty (1279-1368).",
|
| 92 |
+
"收藏著錄": [
|
| 93 |
+
"故宮書畫錄（卷五），第三冊，頁59",
|
| 94 |
+
"故宮書畫圖錄，第一冊，頁255-256"
|
| 95 |
+
]
|
| 96 |
+
},
|
| 97 |
+
"保存維護": {
|
| 98 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 99 |
+
"相關連結": [
|
| 100 |
+
{
|
| 101 |
+
"文本": "抽盤點紀錄",
|
| 102 |
+
"onclick": "Invertory('故畫000062N000000000')"
|
| 103 |
+
},
|
| 104 |
+
{
|
| 105 |
+
"文本": "修護紀錄",
|
| 106 |
+
"onclick": "Repair('故畫000062N000000000')"
|
| 107 |
+
}
|
| 108 |
+
]
|
| 109 |
+
}
|
| 110 |
+
}
|
data/artifact_1292.json
ADDED
|
@@ -0,0 +1,152 @@
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1292",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1292?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋崔白蘆雁 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000063N000000000",
|
| 7 |
+
"作品號": "故畫00006300000",
|
| 8 |
+
"品名": "宋崔白蘆雁 軸\nWild Goose and Rushes",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "崔白",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "138.1x52.3"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "崔白",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "濠梁崔白",
|
| 31 |
+
"書體": "楷書",
|
| 32 |
+
"全文": "濠梁崔白"
|
| 33 |
+
},
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "題跋",
|
| 36 |
+
"作者": "孫承澤\n印記\nexpand_more",
|
| 37 |
+
"位置": "邊幅",
|
| 38 |
+
"款識": "退谷八十一老人題",
|
| 39 |
+
"書體": "",
|
| 40 |
+
"全文": "白露蒼蒼已結霜。蒹葭深處獨徜徉。羽毛無損性情適。不羨高岡有鳳凰。退谷八十一老人題。",
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印主": "孫承澤",
|
| 44 |
+
"印記": "孫承澤印"
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"印主": "孫承澤",
|
| 48 |
+
"印記": "八十一翁"
|
| 49 |
+
}
|
| 50 |
+
]
|
| 51 |
+
}
|
| 52 |
+
],
|
| 53 |
+
"印記資料": [
|
| 54 |
+
{
|
| 55 |
+
"印記類別": "收傳印記",
|
| 56 |
+
"印主": "明官印",
|
| 57 |
+
"印記": "司印（半印）"
|
| 58 |
+
},
|
| 59 |
+
{
|
| 60 |
+
"印記類別": "收傳印記",
|
| 61 |
+
"印主": "朱棡",
|
| 62 |
+
"印記": "道濟書府"
|
| 63 |
+
},
|
| 64 |
+
{
|
| 65 |
+
"印記類別": "收傳印記",
|
| 66 |
+
"印主": "梁清標",
|
| 67 |
+
"印記": "蒼巖"
|
| 68 |
+
},
|
| 69 |
+
{
|
| 70 |
+
"印記類別": "收傳印記",
|
| 71 |
+
"印主": "梁清標",
|
| 72 |
+
"印記": "蕉林居士"
|
| 73 |
+
},
|
| 74 |
+
{
|
| 75 |
+
"印記類別": "鑑藏寶璽",
|
| 76 |
+
"印主": "清內府印",
|
| 77 |
+
"印記": "石渠寶笈"
|
| 78 |
+
},
|
| 79 |
+
{
|
| 80 |
+
"印記類別": "鑑藏寶璽",
|
| 81 |
+
"印主": "宣統帝",
|
| 82 |
+
"印記": "宣統御覽之寶"
|
| 83 |
+
},
|
| 84 |
+
{
|
| 85 |
+
"印記類別": "鑑藏寶璽",
|
| 86 |
+
"印主": "清高宗",
|
| 87 |
+
"印記": "乾隆御覽之寶"
|
| 88 |
+
},
|
| 89 |
+
{
|
| 90 |
+
"印記類別": "鑑藏寶璽",
|
| 91 |
+
"印主": "清高宗",
|
| 92 |
+
"印記": "御書房鑑藏寶"
|
| 93 |
+
},
|
| 94 |
+
{
|
| 95 |
+
"印記類別": "鑑藏寶璽",
|
| 96 |
+
"印主": "清仁宗",
|
| 97 |
+
"印記": "嘉慶御覽之寶"
|
| 98 |
+
}
|
| 99 |
+
],
|
| 100 |
+
"主題": [
|
| 101 |
+
{
|
| 102 |
+
"主題類別": "主要主題",
|
| 103 |
+
"主題(第一層)": "翎毛",
|
| 104 |
+
"主題(第二層)": "雁",
|
| 105 |
+
"主題說明": ""
|
| 106 |
+
},
|
| 107 |
+
{
|
| 108 |
+
"主題類別": "次要主題",
|
| 109 |
+
"主題(第一層)": "花草",
|
| 110 |
+
"主題(第二層)": "蘆葦",
|
| 111 |
+
"主題說明": ""
|
| 112 |
+
},
|
| 113 |
+
{
|
| 114 |
+
"主題類別": "其他主題",
|
| 115 |
+
"主題(第一層)": "山水",
|
| 116 |
+
"主題(第二層)": "江河、湖海",
|
| 117 |
+
"主題說明": "小塘"
|
| 118 |
+
}
|
| 119 |
+
],
|
| 120 |
+
"技法": [
|
| 121 |
+
{
|
| 122 |
+
"技法": "工筆",
|
| 123 |
+
"技法細目": ""
|
| 124 |
+
},
|
| 125 |
+
{
|
| 126 |
+
"技法": "皴法",
|
| 127 |
+
"技法細目": ""
|
| 128 |
+
}
|
| 129 |
+
],
|
| 130 |
+
"參考資料": {
|
| 131 |
+
"內容簡介": "崔白字子西，濠梁(今安徽鳳陽)人，仁宗時(1022-1063)選入畫院為藝學，善畫花鳥，尤其擅長於花竹、山兔、枯荷、水鳧、野雁之類的題材。水濱蘆叢下，有隻孤雁徘徊停留著。雁先以濃淡墨雙鉤成輪廓，然後用水墨漬染，再填以赭色和花青，表現出毛羽豐潤的光澤。絹地染上淡墨，使背景趨於明顯，並有寒氣籠罩的感覺。坡石上有「濠梁崔白」的款字。",
|
| 132 |
+
"Description": "On the bank of a stream below a thicket of rushes a single wild goose has paused idly. The figure of the goose was first double-outlined with light and dark ink and then filled in with ink washes; umber and indigo were finally added to bring out the richness and lustre of its feathers. The silk ground was lightly limned in light ink washes to further emphasize the clarity of the forms as well as to contribute to the wintry atmosphere that infuses the entire painting.On the rocky slope is the signature \"Ts’ui Po of Hao-liang.\" Ts’ui Po, (whose style name was Tzu-hsi) came from Hao-liang in Anhwei. He entered the Imperial Academy of Painting as an artist-in-apprenticeship duringg the reign of Jen-tsung Emperor (r.1022-1063). He specialized in painting flowers and birds and was particularly skilled in such subjects as flowers and bamboo, hares, dexayed lotuses, wild ducks, and wild geese.",
|
| 133 |
+
"收藏著錄": [
|
| 134 |
+
"石渠寶笈初編（御書房），下冊，頁1138",
|
| 135 |
+
"故宮書畫錄（卷五），第三冊，頁60",
|
| 136 |
+
"故宮書畫圖錄，第一冊，頁257-258"
|
| 137 |
+
]
|
| 138 |
+
},
|
| 139 |
+
"保存維護": {
|
| 140 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 141 |
+
"相關連結": [
|
| 142 |
+
{
|
| 143 |
+
"文本": "抽盤點紀錄",
|
| 144 |
+
"onclick": "Invertory('故畫000063N000000000')"
|
| 145 |
+
},
|
| 146 |
+
{
|
| 147 |
+
"文本": "修護紀錄",
|
| 148 |
+
"onclick": "Repair('故畫000063N000000000')"
|
| 149 |
+
}
|
| 150 |
+
]
|
| 151 |
+
}
|
| 152 |
+
}
|
data/artifact_1293.json
ADDED
|
@@ -0,0 +1,158 @@
|
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|
|
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|
|
|
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|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1293",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1293?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋郭思戲羊圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000072N000000000",
|
| 7 |
+
"作品號": "故畫00007200000",
|
| 8 |
+
"品名": "宋郭思戲羊圖 軸\nBoy and Goat",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "郭思",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "198x102.9"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "郭思\n印記\nexpand_more",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "郭思",
|
| 31 |
+
"書體": "楷書",
|
| 32 |
+
"全文": "",
|
| 33 |
+
"印記資料": [
|
| 34 |
+
{
|
| 35 |
+
"印主": "郭思",
|
| 36 |
+
"印記": "（印一不可辨）"
|
| 37 |
+
}
|
| 38 |
+
]
|
| 39 |
+
}
|
| 40 |
+
],
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "鑑藏寶璽",
|
| 44 |
+
"印主": "清內府印",
|
| 45 |
+
"印記": "三希堂精鑑璽"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "鑑藏寶璽",
|
| 49 |
+
"印主": "清高宗",
|
| 50 |
+
"印記": "石渠定鑑"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "鑑藏寶璽",
|
| 54 |
+
"印主": "清內府印",
|
| 55 |
+
"印記": "石渠寶笈"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "鑑藏寶璽",
|
| 59 |
+
"印主": "清內府印",
|
| 60 |
+
"印記": "宜子孫"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "鑑藏寶璽",
|
| 64 |
+
"印主": "清高宗",
|
| 65 |
+
"印記": "乾隆御覽之寶"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "鑑藏寶璽",
|
| 69 |
+
"印主": "清高宗",
|
| 70 |
+
"印記": "乾隆鑑賞"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "鑑藏寶璽",
|
| 74 |
+
"印主": "清高宗",
|
| 75 |
+
"印記": "御書房鑑藏寶"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "鑑藏寶璽",
|
| 79 |
+
"印主": "清高宗",
|
| 80 |
+
"印記": "寶笈重編"
|
| 81 |
+
}
|
| 82 |
+
],
|
| 83 |
+
"主題": [
|
| 84 |
+
{
|
| 85 |
+
"主題類別": "主要主題",
|
| 86 |
+
"主題(第一層)": "人物",
|
| 87 |
+
"主題(第二層)": "孩童",
|
| 88 |
+
"主題說明": ""
|
| 89 |
+
},
|
| 90 |
+
{
|
| 91 |
+
"主題類別": "主要主題",
|
| 92 |
+
"主題(第一層)": "走獸",
|
| 93 |
+
"主題(第二層)": "羊",
|
| 94 |
+
"主題說明": ""
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"主題類別": "次要主題",
|
| 98 |
+
"主題(第一層)": "花草",
|
| 99 |
+
"主題(第二層)": "梅（白．紅．蠟梅）",
|
| 100 |
+
"主題說明": ""
|
| 101 |
+
},
|
| 102 |
+
{
|
| 103 |
+
"主題類別": "次要主題",
|
| 104 |
+
"主題(第一層)": "器用",
|
| 105 |
+
"主題(第二層)": "服飾（對人）",
|
| 106 |
+
"主題說明": "雙龍搶珠小背心"
|
| 107 |
+
},
|
| 108 |
+
{
|
| 109 |
+
"主題類別": "其他主題",
|
| 110 |
+
"主題(第一層)": "山水",
|
| 111 |
+
"主題(第二層)": "奇石",
|
| 112 |
+
"主題說明": ""
|
| 113 |
+
},
|
| 114 |
+
{
|
| 115 |
+
"主題類別": "其他主題",
|
| 116 |
+
"主題(第一層)": "花草",
|
| 117 |
+
"主題(第二層)": "茶花",
|
| 118 |
+
"主題說明": ""
|
| 119 |
+
},
|
| 120 |
+
{
|
| 121 |
+
"主題類別": "其他主題",
|
| 122 |
+
"主題(第一層)": "樹木",
|
| 123 |
+
"主題(第二層)": "竹",
|
| 124 |
+
"主題說明": ""
|
| 125 |
+
}
|
| 126 |
+
],
|
| 127 |
+
"技法": [
|
| 128 |
+
{
|
| 129 |
+
"技法": "工筆",
|
| 130 |
+
"技法細目": ""
|
| 131 |
+
},
|
| 132 |
+
{
|
| 133 |
+
"技法": "皴法",
|
| 134 |
+
"技法細目": ""
|
| 135 |
+
}
|
| 136 |
+
],
|
| 137 |
+
"參考資料": {
|
| 138 |
+
"收藏著錄": [
|
| 139 |
+
"石渠寶笈續編（御書房），第四冊，頁1927",
|
| 140 |
+
"故宮書畫錄（卷五），第三冊，頁69",
|
| 141 |
+
"故宮書畫圖錄，第一冊，頁321-322"
|
| 142 |
+
],
|
| 143 |
+
"參考書目": "1.〈傳宋郭思戲羊圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁181。"
|
| 144 |
+
},
|
| 145 |
+
"保存維護": {
|
| 146 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 147 |
+
"相關連結": [
|
| 148 |
+
{
|
| 149 |
+
"文本": "抽盤點紀錄",
|
| 150 |
+
"onclick": "Invertory('故畫000072N000000000')"
|
| 151 |
+
},
|
| 152 |
+
{
|
| 153 |
+
"文本": "修護紀錄",
|
| 154 |
+
"onclick": "Repair('故畫000072N000000000')"
|
| 155 |
+
}
|
| 156 |
+
]
|
| 157 |
+
}
|
| 158 |
+
}
|
data/artifact_13.json
ADDED
|
@@ -0,0 +1,191 @@
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
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|
|
|
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|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "13",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13?dep=P&mode=full",
|
| 4 |
+
"文物名称": "五代梁關仝秋山晚翠 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000016N000000000",
|
| 7 |
+
"作品號": "故畫00001600000",
|
| 8 |
+
"品名": "五代梁關仝秋山晚翠 軸\nEvening Colors over Autumn Mountains",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "關仝",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "140.5x57.3"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "題跋",
|
| 28 |
+
"作者": "王鐸\n印記\nexpand_more",
|
| 29 |
+
"位置": "右邊幅",
|
| 30 |
+
"款識": "己丑十月王鐸濡墨琅華館中",
|
| 31 |
+
"書體": "行書",
|
| 32 |
+
"全文": "此關仝真筆也。結撰深峭。骨蒼力垕。婉轉關生。又細又老。磅礡之氣。行于筆墨外。大家體度固如此。彼倪瓚一流。競為薄淺習氣。至於二樹一石一沙灘。便稱曰山水山水。荊關李范。大開門壁。籠罩三極。然歟非歟。己丑十月王鐸濡墨琅華館中。",
|
| 33 |
+
"印記資料": [
|
| 34 |
+
{
|
| 35 |
+
"印主": "王鐸",
|
| 36 |
+
"印記": "鐸"
|
| 37 |
+
}
|
| 38 |
+
]
|
| 39 |
+
}
|
| 40 |
+
],
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "收傳印記",
|
| 44 |
+
"印主": "",
|
| 45 |
+
"印記": "(一印不可辨)"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "收傳印記",
|
| 49 |
+
"印主": "明內府印",
|
| 50 |
+
"印記": "司印(半印)"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "收傳印記",
|
| 54 |
+
"印主": "李宗孔",
|
| 55 |
+
"印記": "守真抱一"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "收傳印記",
|
| 59 |
+
"印主": "李宗孔",
|
| 60 |
+
"印記": "李宗孔"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "收傳印記",
|
| 64 |
+
"印主": "李宗孔",
|
| 65 |
+
"印記": "祕園"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "收傳印記",
|
| 69 |
+
"印主": "李宗孔",
|
| 70 |
+
"印記": "廣陵李書樓珍賞圖書"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "鑑藏寶璽",
|
| 74 |
+
"印主": "清高宗",
|
| 75 |
+
"印記": "石渠寶笈"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "鑑藏寶璽",
|
| 79 |
+
"印主": "宣統帝",
|
| 80 |
+
"印記": "宣統御覽之寶"
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"印記類別": "鑑藏寶璽",
|
| 84 |
+
"印主": "宣統帝",
|
| 85 |
+
"印記": "宣統鑑賞"
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"印記類別": "鑑藏寶璽",
|
| 89 |
+
"印主": "清高宗",
|
| 90 |
+
"印記": "乾隆御覽之寶"
|
| 91 |
+
},
|
| 92 |
+
{
|
| 93 |
+
"印記類別": "鑑藏寶璽",
|
| 94 |
+
"印主": "宣統帝",
|
| 95 |
+
"印記": "無逸齋精鑒璽"
|
| 96 |
+
},
|
| 97 |
+
{
|
| 98 |
+
"印記類別": "鑑藏寶璽",
|
| 99 |
+
"印主": "清仁宗",
|
| 100 |
+
"印記": "嘉慶御覽之寶"
|
| 101 |
+
},
|
| 102 |
+
{
|
| 103 |
+
"印記類別": "鑑藏寶璽",
|
| 104 |
+
"印主": "清高宗",
|
| 105 |
+
"印記": "養心殿鑑藏寶"
|
| 106 |
+
}
|
| 107 |
+
],
|
| 108 |
+
"主題": [
|
| 109 |
+
{
|
| 110 |
+
"主題類別": "主要主題",
|
| 111 |
+
"主題(第一層)": "山水",
|
| 112 |
+
"主題(第二層)": "秋景",
|
| 113 |
+
"主題說明": ""
|
| 114 |
+
},
|
| 115 |
+
{
|
| 116 |
+
"主題類別": "其他主題",
|
| 117 |
+
"主題(第一層)": "山水",
|
| 118 |
+
"主題(第二層)": "石磴、棧道",
|
| 119 |
+
"主題說明": "棧道"
|
| 120 |
+
},
|
| 121 |
+
{
|
| 122 |
+
"主題類別": "其他主題",
|
| 123 |
+
"主題(第一層)": "山水",
|
| 124 |
+
"主題(第二層)": "江河、湖海",
|
| 125 |
+
"主題說明": ""
|
| 126 |
+
},
|
| 127 |
+
{
|
| 128 |
+
"主題類別": "其他主題",
|
| 129 |
+
"主題(第一層)": "山水",
|
| 130 |
+
"主題(第二層)": "瀑布",
|
| 131 |
+
"主題說明": ""
|
| 132 |
+
},
|
| 133 |
+
{
|
| 134 |
+
"主題類別": "其他主題",
|
| 135 |
+
"主題(第一層)": "建築",
|
| 136 |
+
"主題(第二層)": "橋",
|
| 137 |
+
"主題說明": ""
|
| 138 |
+
},
|
| 139 |
+
{
|
| 140 |
+
"主題類別": "其他主題",
|
| 141 |
+
"主題(第一層)": "建築",
|
| 142 |
+
"主題(第二層)": "欄杆",
|
| 143 |
+
"主題說明": ""
|
| 144 |
+
},
|
| 145 |
+
{
|
| 146 |
+
"主題類別": "其他主題",
|
| 147 |
+
"主題(第一層)": "樹木",
|
| 148 |
+
"主題(第二層)": "",
|
| 149 |
+
"主題說明": ""
|
| 150 |
+
}
|
| 151 |
+
],
|
| 152 |
+
"技法": [
|
| 153 |
+
{
|
| 154 |
+
"技法": "皴法",
|
| 155 |
+
"技法細目": ""
|
| 156 |
+
}
|
| 157 |
+
],
|
| 158 |
+
"參考資料": {
|
| 159 |
+
"內容簡介": [
|
| 160 |
+
"關仝（十世紀中葉），陜西長安人。畫山水師荊浩，而有出藍之譽。所作多關陝一帶景致，雄渾峻拔���論者謂：「筆愈簡而氣愈壯，景愈少而意愈長。」唯不善人物，畫中點景，多由胡翼代筆。本幅無名款，今名係據王鐸跋語而訂定。畫嵯峨高峰，中有泉瀑迂迴，景境幽深。邊角似經裁切，原作或為一屏風形式，後再改裝成立軸。鑑於風格、技法與燕文貴（約九六七－一０四四）略近，故時代應可置入北宋中期。",
|
| 161 |
+
"關仝（活動於十世紀中期）是荊浩弟子，北宋時與李成、范寬並列三家。他的傳世作品大多可議，唯有此幅最受重視。文獻上說他畫山水石體堅凝、山峰峭拔、雜木豐茂，在此作皆可印證。 層疊的峭峰之下，中央巨岩最為引人注目，而其間斷續出現的步道，則揭示著一個外人不易至的幽谷之存在。這或許正是畫家意旨所在。 本幅畫絹破損嚴重，歷代幾經重裱，亦有加補。如巨岩與右上山塊之連線，與峰頂上之建築皆為後添。(20061206)"
|
| 162 |
+
],
|
| 163 |
+
"Description": [
|
| 164 |
+
"Kuan T'ung, a disciple of Ching Hao, was known along with Li Ch'eng and Fan K'uan as one of the Three Masters. Most works attributed to him are doubtful in terms of authenticity, but this is one of the most highly regarded. Records indicate that in landscape painting he rendered rocks as solid, peaks as steep, and forests as dense. All these features are found in this work. Below and emerging from the ridges of peaks, a large central cliff juts out in the lower part of this painting to attract the viewer’s attention. A path winds its way along with the stream into the background, suggesting the inaccessible and isolated nature of the terrain. This perhaps is exactly what the artist intended to portray. The silk of this work is heavily damaged and has been remounted several times in the past, being repaired and patched in several places. For example, the continuity between the central cliff and mountain forms in the upper right, along with the building on the peak, are later additions.(20061206)",
|
| 165 |
+
"Kuan T'ung was a native of Ch'ang-an in Shansi. He was a pupil of the landscape painter Ching Hao and later surpassed him. Kuan often painted the landscape of the Shansi region with its rugged and soaring scenery. Early connoisseurs commented that as his brushwork became simpler, his spirit became more expressive; as his motifs became less complex, his ideas more far-reaching. His only shortcoming was his inability to paint figures, which were often done by his student Hu I. This painting has no signature, but was ascribed to Kuan by the Ming connoisseur Wang To. Included is a range of soaring peaks, between which are cascades. The path in the corner appears abrupt, suggesting this work may have once been part of a screen remounted later as a hanging scroll. The style is similar to that of Yen Wen-kuei (967-1044), suggesting this scroll may date to about the middle of the Northern Sung (960-1126)."
|
| 166 |
+
],
|
| 167 |
+
"參考書目": [
|
| 168 |
+
"林麗江，〈五代梁關仝秋山晚翠 軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁94-95。",
|
| 169 |
+
"1.陳韻如，〈五代梁關仝秋山晚翠 軸〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁26-31。\r\n2.林柏亭，〈關仝秋山晚翠〉，《故宮文物月刊》，第1期（1983年4月），封底裡。"
|
| 170 |
+
],
|
| 171 |
+
"收藏著錄": [
|
| 172 |
+
"石渠寶笈初編（養心殿），上冊，頁658",
|
| 173 |
+
"故宮書畫錄（卷五），第三冊，頁16",
|
| 174 |
+
"故宮書畫圖錄，第一冊，頁57-58"
|
| 175 |
+
],
|
| 176 |
+
"研究性論著": "高峰峻峭，巍峨矗立，中有泉瀑，迂迴而下，景緻幽深，奧曲奇偉。山石皴畫筆力雄渾，墨色凝重，表現出厚重結實的質感；並以朱色賦染樹葉，和畫枯枝樹來形容秋日時光。從構圖上看，畫幅兩側甚為促迫，似曾經裁切，原作或本為屏風，後再改裝成立軸形式。\r\n此幅無名款，今之定名為關仝，乃是根據邊幅王鐸順治六年（1649）的跋語而來。王鐸認為此幅結構深峭，筆法老蒼，氣勢磅礡，當為關仝真筆。事實上，目前傳世作品中，並無可靠的關仝畫蹟可以比對，所以本幅是否出於關仝所作，仍有待研究。以風格和表現技法觀察，與燕文貴（約967-1044）畫風略近，成畫時代或可置於北宋中期（約1040年間）。\r\n關仝（十世紀中葉），陜西長安人。所作多關陜（陜西省地區）一帶景緻，峻拔雄渾，畫史評論其畫謂：「筆愈簡而氣愈壯，景愈少而意愈長。」（許郭璜）"
|
| 177 |
+
},
|
| 178 |
+
"保存維護": {
|
| 179 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 180 |
+
"相關連結": [
|
| 181 |
+
{
|
| 182 |
+
"文本": "抽盤點紀錄",
|
| 183 |
+
"onclick": "Invertory('故畫000016N000000000')"
|
| 184 |
+
},
|
| 185 |
+
{
|
| 186 |
+
"文本": "修護紀錄",
|
| 187 |
+
"onclick": "Repair('故畫000016N000000000')"
|
| 188 |
+
}
|
| 189 |
+
]
|
| 190 |
+
}
|
| 191 |
+
}
|
data/artifact_1300.json
ADDED
|
@@ -0,0 +1,215 @@
|
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|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
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|
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|
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|
|
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|
|
|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
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|
|
|
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|
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|
|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
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|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1300",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1300?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋燕文貴秋山琳宇圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000044N000000000",
|
| 7 |
+
"作品號": "故畫00004400000",
|
| 8 |
+
"品名": "宋燕文貴秋山琳宇圖 軸\nDaoist Monastery in Autumn Mountains",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "燕文貴",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "165.5x58.4"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "燕文貴",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "臣燕文貴恭畫",
|
| 31 |
+
"書體": "楷書",
|
| 32 |
+
"全文": "臣燕文貴恭畫"
|
| 33 |
+
},
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "題跋",
|
| 36 |
+
"作者": "郭畀\n印記\nexpand_more",
|
| 37 |
+
"位置": "本幅",
|
| 38 |
+
"款識": "金城郭天錫題",
|
| 39 |
+
"書體": "楷書",
|
| 40 |
+
"全文": "梵王殿閣建何年。古樹嵯岈（當作杈枒）勢極天。愛向深崖觀落葉。喜從幽壑聽鳴泉。松聲滿耳頻高下。雲氣無心任去旋。一派秋光山色好。人生居此勝神僊。金城郭畀天錫題。",
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印主": "郭畀",
|
| 44 |
+
"印記": "快雪齋"
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"印主": "郭畀",
|
| 48 |
+
"印記": "郭畀"
|
| 49 |
+
},
|
| 50 |
+
{
|
| 51 |
+
"印主": "郭畀",
|
| 52 |
+
"印記": "金城郭氏"
|
| 53 |
+
}
|
| 54 |
+
]
|
| 55 |
+
}
|
| 56 |
+
],
|
| 57 |
+
"印記資料": [
|
| 58 |
+
{
|
| 59 |
+
"印記類別": "收傳印記",
|
| 60 |
+
"印主": "",
|
| 61 |
+
"印記": "大明安楚昭勇將軍李氏珍玩"
|
| 62 |
+
},
|
| 63 |
+
{
|
| 64 |
+
"印記類別": "收傳印記",
|
| 65 |
+
"印主": "宋徽宗",
|
| 66 |
+
"印記": "宣和"
|
| 67 |
+
},
|
| 68 |
+
{
|
| 69 |
+
"印記類別": "收傳印記",
|
| 70 |
+
"印主": "宋徽宗",
|
| 71 |
+
"印記": "宣和之寶"
|
| 72 |
+
},
|
| 73 |
+
{
|
| 74 |
+
"印記類別": "收傳印記",
|
| 75 |
+
"印主": "",
|
| 76 |
+
"印記": "壽春堂藏"
|
| 77 |
+
},
|
| 78 |
+
{
|
| 79 |
+
"印記類別": "收傳印記",
|
| 80 |
+
"印主": "",
|
| 81 |
+
"印記": "藍田主人寶玩珍記"
|
| 82 |
+
},
|
| 83 |
+
{
|
| 84 |
+
"印記類別": "收傳印記",
|
| 85 |
+
"印主": "宋徽宗",
|
| 86 |
+
"印記": "雙龍璽"
|
| 87 |
+
},
|
| 88 |
+
{
|
| 89 |
+
"印記類別": "鑑藏寶璽",
|
| 90 |
+
"印主": "清仁宗",
|
| 91 |
+
"印記": "三希堂精鑑璽"
|
| 92 |
+
},
|
| 93 |
+
{
|
| 94 |
+
"印記類別": "鑑藏寶璽",
|
| 95 |
+
"印主": "清仁宗",
|
| 96 |
+
"印記": "石渠寶笈"
|
| 97 |
+
},
|
| 98 |
+
{
|
| 99 |
+
"印記類別": "鑑藏寶璽",
|
| 100 |
+
"印主": "清仁宗",
|
| 101 |
+
"印記": "宜子孫"
|
| 102 |
+
},
|
| 103 |
+
{
|
| 104 |
+
"印記類別": "鑑藏寶璽",
|
| 105 |
+
"印主": "宣統帝",
|
| 106 |
+
"印記": "宣統御覽之寶"
|
| 107 |
+
},
|
| 108 |
+
{
|
| 109 |
+
"印記類別": "鑑藏寶璽",
|
| 110 |
+
"印主": "清仁宗",
|
| 111 |
+
"印記": "嘉慶御覽之寶"
|
| 112 |
+
},
|
| 113 |
+
{
|
| 114 |
+
"印記類別": "鑑藏寶璽",
|
| 115 |
+
"印主": "清仁宗",
|
| 116 |
+
"印記": "嘉慶鑑賞"
|
| 117 |
+
},
|
| 118 |
+
{
|
| 119 |
+
"印記類別": "鑑藏寶璽",
|
| 120 |
+
"印主": "清仁宗",
|
| 121 |
+
"印記": "寶笈三編"
|
| 122 |
+
}
|
| 123 |
+
],
|
| 124 |
+
"主題": [
|
| 125 |
+
{
|
| 126 |
+
"主題類別": "主要主題",
|
| 127 |
+
"主題(第一層)": "山水",
|
| 128 |
+
"主題(第二層)": "",
|
| 129 |
+
"主題說明": ""
|
| 130 |
+
},
|
| 131 |
+
{
|
| 132 |
+
"主題類別": "其他主題",
|
| 133 |
+
"主題(第一層)": "人物",
|
| 134 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 135 |
+
"主題說明": ""
|
| 136 |
+
},
|
| 137 |
+
{
|
| 138 |
+
"主題類別": "其他主題",
|
| 139 |
+
"主題(第一層)": "山水",
|
| 140 |
+
"主題(第二層)": "江河、湖海",
|
| 141 |
+
"主題說明": ""
|
| 142 |
+
},
|
| 143 |
+
{
|
| 144 |
+
"主題類別": "其他主題",
|
| 145 |
+
"主題(第一層)": "山水",
|
| 146 |
+
"主題(第二層)": "秋景",
|
| 147 |
+
"主題說明": ""
|
| 148 |
+
},
|
| 149 |
+
{
|
| 150 |
+
"主題類別": "其他主題",
|
| 151 |
+
"主題(第一層)": "山水",
|
| 152 |
+
"主題(第二層)": "溪澗、湍泉",
|
| 153 |
+
"主題說明": ""
|
| 154 |
+
},
|
| 155 |
+
{
|
| 156 |
+
"主題類別": "其他主題",
|
| 157 |
+
"主題(第一層)": "山水",
|
| 158 |
+
"主題(第二層)": "瀑布",
|
| 159 |
+
"主題說明": ""
|
| 160 |
+
},
|
| 161 |
+
{
|
| 162 |
+
"主題類別": "其他主題",
|
| 163 |
+
"主題(第一層)": "建築",
|
| 164 |
+
"主題(第二層)": "寺廟",
|
| 165 |
+
"主題說明": ""
|
| 166 |
+
},
|
| 167 |
+
{
|
| 168 |
+
"主題類別": "其他主題",
|
| 169 |
+
"主題(第一層)": "建築",
|
| 170 |
+
"主題(第二層)": "房舍",
|
| 171 |
+
"主題說明": ""
|
| 172 |
+
},
|
| 173 |
+
{
|
| 174 |
+
"主題類別": "其他主題",
|
| 175 |
+
"主題(第一層)": "樹木",
|
| 176 |
+
"主題(第二層)": "竹",
|
| 177 |
+
"主題說明": ""
|
| 178 |
+
}
|
| 179 |
+
],
|
| 180 |
+
"技法": [
|
| 181 |
+
{
|
| 182 |
+
"技法": "皴法",
|
| 183 |
+
"技法細目": ""
|
| 184 |
+
}
|
| 185 |
+
],
|
| 186 |
+
"參考資料": {
|
| 187 |
+
"內容簡介": [
|
| 188 |
+
"燕文貴(約西元十一世紀)，浙江吳興人。少時曾流落京師(河南開封)為商販，後來才華被畫院待詔高益所賞識，得以進入畫院任祇候之職。山水、人物均佳，尤善於描繪四季景物，清雅可愛。畫院中人稱其畫為「燕家景」。本幅寫山峰林立，山谷中煙嵐留滯，似欲描寫山雨初收。澗壑奔流直瀉，小路迴曲，延向山中樓閣，景境幽靜清雅。雖款繫燕文貴，惟畫風較近似晚明。",
|
| 189 |
+
"本幅寫山峰林立，山谷中煙嵐留滯，似欲描寫山雨初收。澗壑奔流直瀉，小路迴曲，延向山中樓閣，景境幽靜清雅。本幅雖款繫燕文貴，惟畫風較近似晚明。燕文貴(約西元十一世紀)，浙江吳興人。少時曾流落京師(河南開封)為商販，後來才華被畫院待詔高益所賞識，得以進入畫院任祇候之職。山水、人物均佳，尤善於描繪四季景物，清雅可愛。畫院中人稱其畫為「燕家景」。(20100710)"
|
| 190 |
+
],
|
| 191 |
+
"Description": [
|
| 192 |
+
"This work depicts many serried peaks with mists trailing the valleys between, like a scene shortly after rain. Torrents rush down the ravines as a path winds up to the buildings among the peaks, creating a serene and elegant setting. Though bearing a Yan Wengui signature, the style is actually closer to the late Ming (1368-1644). As a destitute youth, Yan Wengui (from Wuxing, Zhejiang) went to the capital (Kaifeng, Henan) to sell goods. His talent in art was recognized by the court painter Gao Yi, who recommended him. Yan thus served in the Painting Academy. A master of landscape and figures, Yan was gifted at scenes of the four seasons in a pure manner appreciated by many. In the Painting Academy, they were called “Yan Master Scenes.”(20100710)",
|
| 193 |
+
"Yen Wen-Kuei was a native of Wu-hsing, Chekiang. When he was young, he went to the capital, K'aifeng, where he was a merchant. Later, he became a talented artist and received the favor of Kao I, a Painter-in-Attendance in the Painting Academy.Through Kao I, he entered the Painting Academy as an Attendant.He was a master of landscape and figure painting.He was particulary accomplished in painting landscapes of the four seasons. We may especially admire his delicate and charming style. In the Painting Academy, his paintings were called \"Landscapes in Master Yen's style.\" This scroll depicts serried peaks; the autumn skies are beginning to clear but the mist has not yet dispersed, giving a clear impression of an autumnal atmospere. Through the mist a tumbling stream can be seen. A small path leads to a Taoist monastery in the mountains. Although this painting bears Yen Wen-kuei's signature, it is much closer in style to paintings of the Ming dynasty."
|
| 194 |
+
],
|
| 195 |
+
"收藏著錄": [
|
| 196 |
+
"石渠寶笈三編（延春閣），第三冊，頁1385",
|
| 197 |
+
"故宮書畫錄（卷五），第三冊，頁45-46",
|
| 198 |
+
"故宮書畫圖錄，第一冊，頁181-182"
|
| 199 |
+
],
|
| 200 |
+
"參考書目": "1.何傳馨，〈(原題宋燕文貴)秋山琳宇圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁241。\r\n2.本社，〈宋燕文貴秋山琳宇〉，《故宮文物月刊》，第14期（1984年5月），封底裡。"
|
| 201 |
+
},
|
| 202 |
+
"保存維護": {
|
| 203 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 204 |
+
"相關連結": [
|
| 205 |
+
{
|
| 206 |
+
"文本": "抽盤點紀錄",
|
| 207 |
+
"onclick": "Invertory('故畫000044N000000000')"
|
| 208 |
+
},
|
| 209 |
+
{
|
| 210 |
+
"文本": "修護紀錄",
|
| 211 |
+
"onclick": "Repair('故畫000044N000000000')"
|
| 212 |
+
}
|
| 213 |
+
]
|
| 214 |
+
}
|
| 215 |
+
}
|
data/artifact_1301.json
ADDED
|
@@ -0,0 +1,97 @@
|
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|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
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|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1301",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1301?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋燕文貴三仙授簡 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000046N000000000",
|
| 7 |
+
"作品號": "故畫00004600000",
|
| 8 |
+
"品名": "宋燕文貴三仙授簡 軸\nReceiving the Text from Immortals",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "燕文貴,Yan Wengui",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "46.3x41.3"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": {},
|
| 27 |
+
"主題": [
|
| 28 |
+
{
|
| 29 |
+
"主題類別": "主要主題",
|
| 30 |
+
"主題(第一層)": "佛道人物",
|
| 31 |
+
"主題(第二層)": "神、仙",
|
| 32 |
+
"主題說明": ""
|
| 33 |
+
},
|
| 34 |
+
{
|
| 35 |
+
"主題類別": "其他主題",
|
| 36 |
+
"主題(第一層)": "器用",
|
| 37 |
+
"主題(第二層)": "文房用具",
|
| 38 |
+
"主題說明": "經；硯；墨；筆"
|
| 39 |
+
},
|
| 40 |
+
{
|
| 41 |
+
"主題類別": "其他主題",
|
| 42 |
+
"主題(第一層)": "器用",
|
| 43 |
+
"主題(第二層)": "服飾（對人）",
|
| 44 |
+
"主題說明": "樹葉衣"
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"主題類別": "其他主題",
|
| 48 |
+
"主題(第一層)": "樹木",
|
| 49 |
+
"主題(第二層)": "竹",
|
| 50 |
+
"主題說明": ""
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"主題類別": "其他主題",
|
| 54 |
+
"主題(第一層)": "樹木",
|
| 55 |
+
"主題(第二層)": "松",
|
| 56 |
+
"主題說明": ""
|
| 57 |
+
}
|
| 58 |
+
],
|
| 59 |
+
"技法": [
|
| 60 |
+
{
|
| 61 |
+
"技法": "人物衣紋描法(粗細線條)",
|
| 62 |
+
"技法細目": ""
|
| 63 |
+
},
|
| 64 |
+
{
|
| 65 |
+
"技法": "皴法",
|
| 66 |
+
"技法細目": ""
|
| 67 |
+
}
|
| 68 |
+
],
|
| 69 |
+
"參考資料": {
|
| 70 |
+
"內容簡介": [
|
| 71 |
+
"松下巖洞中三仙赤足踞坐，石洞淺狹。一仙穿著樹葉做的衣服，手持筆。一仙披髮赤膊。一仙穿著寬鬆的衣服，不繫腰帶。頭上紮雙髻，手持卷素。岩石松樹皴法用筆細密，具有真實感，人物面部表情溫和，顯出有修養的樣子。畫面上沒有作者的款印，舊傳燕文貴作，按燕文貴(約活動於西元十一世紀)，吳興人，宋太宗時詔入畫院為祇候，擅長山水畫。",
|
| 72 |
+
"淺設色畫。松下巖洞中三仙踞坐。一仙衣葉，手持筆；一仙披髮赤膊，一仙衣而不冠，手握卷素。無名款。按此幅原題燕文貴作，惟畫風已入南宋，可能為十二世紀作品，與燕文貴畫亦不相祖襲，故不定名。"
|
| 73 |
+
],
|
| 74 |
+
"Description": [
|
| 75 |
+
"Three immortals are seated in a rocky cave in the shade of pines. One, clothed in leaves, holds a brush; a second is bare-shouldered with disheveled hair; and the third, wearing a scholar's robe but no cap, holds a scroll of blank paper. The painting is not signed; it was formerly attributed toYen Wen-kuei, but the style is that of the Southern Sung. It may have been painted in the12th century. As it bears no relation toYenWen-kuei's style, we have omitted the attribution.",
|
| 76 |
+
"In this painting, three immortals are seated in a small, narrow grotto beneath some pine trees. One is clothed in leaves and holds a brush, another is depicted with bare shoulders and dishevelled hair,and the other holds a scroll. The brushwork involved in rendering the texture strokes for the rocks and pine trees is delicate and realistic. The expressions of the figures appear calm and suggest an air of cultivation. Although this work bears neither seal nor signature of the artist, it has been traditionally attributed to Yen Wen -kuei, a native of Wu-hsing who served as Attendant (chih-hou) in the painting academy in the reign of Emperor T'ai-tsung (r. 976-997) and excelled at landscape painting."
|
| 77 |
+
],
|
| 78 |
+
"收藏著錄": [
|
| 79 |
+
"故宮書畫錄（卷五），第三冊，頁47",
|
| 80 |
+
"故宮書畫圖錄，第一冊，頁185-186"
|
| 81 |
+
],
|
| 82 |
+
"參考書目": "許文美，〈宋燕文貴三仙授簡 軸〉，收入《何處是蓬萊-仙山圖特展》（臺北：國立故宮博物院，2018.06），頁136-137、171。"
|
| 83 |
+
},
|
| 84 |
+
"保存維護": {
|
| 85 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 86 |
+
"相關連結": [
|
| 87 |
+
{
|
| 88 |
+
"文本": "抽盤點紀錄",
|
| 89 |
+
"onclick": "Invertory('故畫000046N000000000')"
|
| 90 |
+
},
|
| 91 |
+
{
|
| 92 |
+
"文本": "修護紀錄",
|
| 93 |
+
"onclick": "Repair('故畫000046N000000000')"
|
| 94 |
+
}
|
| 95 |
+
]
|
| 96 |
+
}
|
| 97 |
+
}
|
data/artifact_1303.json
ADDED
|
@@ -0,0 +1,96 @@
|
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|
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|
|
|
|
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|
|
|
|
|
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|
|
|
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|
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|
|
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|
|
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|
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|
|
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|
|
|
|
|
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|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1303",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1303?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋燕文貴寒浦魚罾 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000045N000000000",
|
| 7 |
+
"作品號": "故畫00004500000",
|
| 8 |
+
"品名": "宋燕文貴寒浦魚罾 軸\nFishing in Winter",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "燕文貴",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "143.1x75.4"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": {},
|
| 27 |
+
"主題": [
|
| 28 |
+
{
|
| 29 |
+
"主題類別": "主要主題",
|
| 30 |
+
"主題(第一層)": "山水",
|
| 31 |
+
"主題(第二層)": "冬景（雪景）",
|
| 32 |
+
"主題說明": ""
|
| 33 |
+
},
|
| 34 |
+
{
|
| 35 |
+
"主題類別": "主要主題",
|
| 36 |
+
"主題(第一層)": "山水",
|
| 37 |
+
"主題(第二層)": "江河、湖海",
|
| 38 |
+
"主題說明": ""
|
| 39 |
+
},
|
| 40 |
+
{
|
| 41 |
+
"主題類別": "其他主題",
|
| 42 |
+
"主題(第一層)": "人物",
|
| 43 |
+
"主題(第二層)": "漁夫、船夫",
|
| 44 |
+
"主題說明": ""
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"主題類別": "其他主題",
|
| 48 |
+
"主題(第一層)": "花草",
|
| 49 |
+
"主題(第二層)": "蘆葦",
|
| 50 |
+
"主題說明": ""
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"主題類別": "其他主題",
|
| 54 |
+
"主題(第一層)": "翎毛",
|
| 55 |
+
"主題(第二層)": "雁",
|
| 56 |
+
"主題說明": ""
|
| 57 |
+
},
|
| 58 |
+
{
|
| 59 |
+
"主題類別": "其他主題",
|
| 60 |
+
"主題(第一層)": "器用",
|
| 61 |
+
"主題(第二層)": "耕織漁獵",
|
| 62 |
+
"主題說明": "漁"
|
| 63 |
+
}
|
| 64 |
+
],
|
| 65 |
+
"技法": [
|
| 66 |
+
{
|
| 67 |
+
"技法": "人物衣紋描法(粗細線條)",
|
| 68 |
+
"技法細目": ""
|
| 69 |
+
},
|
| 70 |
+
{
|
| 71 |
+
"技法": "皴法",
|
| 72 |
+
"技法細目": ""
|
| 73 |
+
}
|
| 74 |
+
],
|
| 75 |
+
"參考資料": {
|
| 76 |
+
"內容簡介": "燕文貴（西元九六七－一○四四年），浙江吳興人，仁宗時為畫院待詔。其山水、人物均佳，尤善畫四季景色，清雅可愛，號為「燕家景緻」。本幅寫日暮寒冬之景。近岸一翁獨坐捕魚，綣縮之狀暗示出天候之嚴寒；隔著平闊清泠的江面，遠處沙洲枯蘆繞岸，數隻雁鴨點綴其間，更添荒疏寂寥之感。此圖與本院所藏另一幅標為宋人「漁父圖」為同一粉本，舊傳為燕文貴所作，然就畫風論，應出自晚明畫家之手。",
|
| 77 |
+
"Description": "Yen Wen-kuei was a native of Wu-hsing, Checkiang, who was a Painter-in-Attendance during the reign of Emperor Jen-tsung (r. 1022-1063). His depictions of landscapes and figures were excellent, especially his renderings of the four seasons. Pure, elegant, and charming, they were called \"Yen's Wondrous scenes.\" This painting depicts a scene late in the day during winter. On the foreground bank is an old man working his fishing net alone and huddlind against the severe cold. The river surface separates the foreground from the level distance dotted by shoals of withered reeds, winding banks, geese, and ducks. These motifs add to the sense of vastness and solitude. The composition is similar to another in the Museum entitled \"Fisherman by an Anonymous Sung Artist.\" Furthermore, judging from the style of the painting, it should be attributed to a late Ming (1368-1644) artist, and not to Yen Wen-kuei.",
|
| 78 |
+
"收藏著錄": [
|
| 79 |
+
"故宮書畫錄（卷五），第三冊，頁46-47",
|
| 80 |
+
"故宮書畫圖錄，第一冊，頁183-184"
|
| 81 |
+
]
|
| 82 |
+
},
|
| 83 |
+
"保存維護": {
|
| 84 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 85 |
+
"相關連結": [
|
| 86 |
+
{
|
| 87 |
+
"文本": "抽盤點紀錄",
|
| 88 |
+
"onclick": "Invertory('故畫000045N000000000')"
|
| 89 |
+
},
|
| 90 |
+
{
|
| 91 |
+
"文本": "修護紀錄",
|
| 92 |
+
"onclick": "Repair('故畫000045N000000000')"
|
| 93 |
+
}
|
| 94 |
+
]
|
| 95 |
+
}
|
| 96 |
+
}
|
data/artifact_1311.json
ADDED
|
@@ -0,0 +1,186 @@
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1311",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1311?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋蔡肇仁壽圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000070N000000000",
|
| 7 |
+
"作品號": "故畫00007000000",
|
| 8 |
+
"品名": "宋蔡肇仁壽圖 軸\nBenevolence and Long Life",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "蔡肇",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "95.5x41.1"
|
| 17 |
+
},
|
| 18 |
+
{
|
| 19 |
+
"位置": "詩塘",
|
| 20 |
+
"尺寸(公分)": "28.1x39.3"
|
| 21 |
+
}
|
| 22 |
+
],
|
| 23 |
+
"質地": [
|
| 24 |
+
{
|
| 25 |
+
"質地位置": "詩塘",
|
| 26 |
+
"質地": "紙"
|
| 27 |
+
},
|
| 28 |
+
{
|
| 29 |
+
"質地位置": "本幅",
|
| 30 |
+
"質地": "絹"
|
| 31 |
+
}
|
| 32 |
+
],
|
| 33 |
+
"題跋資料": [
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "作者款識",
|
| 36 |
+
"作者": "蔡肇",
|
| 37 |
+
"位置": "本幅",
|
| 38 |
+
"款識": "蔡肇",
|
| 39 |
+
"書體": "隸書",
|
| 40 |
+
"全文": "蔡肇"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"題跋類別": "題跋",
|
| 44 |
+
"作者": "周伯琦\n印記\nexpand_more",
|
| 45 |
+
"位置": "詩塘",
|
| 46 |
+
"款識": "元統二年(1334)春日。周伯溫書。",
|
| 47 |
+
"書體": "篆書",
|
| 48 |
+
"全文": "仁壽賦。生必深山。峰狀自閒。電烻霞駮。樹雜苔班。奇形異質。紛拏不一。屹特立以樹空。倚懸崖而構室。御箭笴而橫臥。聳蓮蓬而半出。龍吟應物。觸紫巖而吐雲。虹梁中斷。駕滄海而觀日。故石之為物也。不奢不僭。無競無猜。偶山水而長往。因和璞而俱來。考之雲籍。則建名古昔。賢億視而長存。經百王而不易。何施而不可。何用而不適。願上吾君千萬年。地久天長履茲石。元統二年(1334)春日。周伯溫書。",
|
| 49 |
+
"印記資料": [
|
| 50 |
+
{
|
| 51 |
+
"印主": "周伯琦",
|
| 52 |
+
"印記": "玉雪坡主"
|
| 53 |
+
},
|
| 54 |
+
{
|
| 55 |
+
"印主": "周伯琦",
|
| 56 |
+
"印記": "行中書"
|
| 57 |
+
}
|
| 58 |
+
]
|
| 59 |
+
}
|
| 60 |
+
],
|
| 61 |
+
"印記資料": [
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "收傳印記",
|
| 64 |
+
"印主": "",
|
| 65 |
+
"印記": "□翁"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "收傳印記",
|
| 69 |
+
"印主": "",
|
| 70 |
+
"印記": "一印不可辨"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "收傳印記",
|
| 74 |
+
"印主": "邵彌",
|
| 75 |
+
"印記": "南有堂"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "收傳印記",
|
| 79 |
+
"印主": "",
|
| 80 |
+
"印記": "晉府"
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"印記類別": "收傳印記",
|
| 84 |
+
"印主": "明內府藩府印",
|
| 85 |
+
"印記": "晉府世子圖書"
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"印記類別": "收傳印記",
|
| 89 |
+
"印主": "朱棡",
|
| 90 |
+
"印記": "晉府書畫之印"
|
| 91 |
+
},
|
| 92 |
+
{
|
| 93 |
+
"印記類別": "收傳印記",
|
| 94 |
+
"印主": "",
|
| 95 |
+
"印記": "御府圖繪之記"
|
| 96 |
+
},
|
| 97 |
+
{
|
| 98 |
+
"印記類別": "收傳印記",
|
| 99 |
+
"印主": "梁清標",
|
| 100 |
+
"印記": "梁清標印"
|
| 101 |
+
},
|
| 102 |
+
{
|
| 103 |
+
"印記類別": "收傳印記",
|
| 104 |
+
"印主": "梁清標",
|
| 105 |
+
"印記": "蒼巖子梁清標玉立氏印章"
|
| 106 |
+
},
|
| 107 |
+
{
|
| 108 |
+
"印記類別": "收傳印記",
|
| 109 |
+
"印主": "梁清標",
|
| 110 |
+
"印記": "蕉林鑒定"
|
| 111 |
+
},
|
| 112 |
+
{
|
| 113 |
+
"印記類別": "收傳印記",
|
| 114 |
+
"印主": "繆曰藻",
|
| 115 |
+
"印記": "蘭陵文子收藏"
|
| 116 |
+
},
|
| 117 |
+
{
|
| 118 |
+
"印記類別": "鑑藏寶璽",
|
| 119 |
+
"印主": "清仁宗",
|
| 120 |
+
"印記": "三希堂精鑑璽"
|
| 121 |
+
},
|
| 122 |
+
{
|
| 123 |
+
"印記類別": "鑑藏寶璽",
|
| 124 |
+
"印主": "清仁宗",
|
| 125 |
+
"印記": "石渠寶笈"
|
| 126 |
+
},
|
| 127 |
+
{
|
| 128 |
+
"印記類別": "鑑藏寶璽",
|
| 129 |
+
"印主": "清仁宗",
|
| 130 |
+
"印記": "宜子孫"
|
| 131 |
+
},
|
| 132 |
+
{
|
| 133 |
+
"印記類別": "鑑藏寶璽",
|
| 134 |
+
"印主": "宣統帝",
|
| 135 |
+
"印記": "宣統御覽之寶"
|
| 136 |
+
},
|
| 137 |
+
{
|
| 138 |
+
"印記類別": "鑑藏寶璽",
|
| 139 |
+
"印主": "清仁宗",
|
| 140 |
+
"印記": "嘉慶御覽之寶"
|
| 141 |
+
},
|
| 142 |
+
{
|
| 143 |
+
"印記類別": "鑑藏寶璽",
|
| 144 |
+
"印主": "清仁宗",
|
| 145 |
+
"印記": "嘉慶鑑賞"
|
| 146 |
+
},
|
| 147 |
+
{
|
| 148 |
+
"印記類別": "鑑藏寶璽",
|
| 149 |
+
"印主": "清仁宗",
|
| 150 |
+
"印記": "寶笈三編"
|
| 151 |
+
}
|
| 152 |
+
],
|
| 153 |
+
"主題": [
|
| 154 |
+
{
|
| 155 |
+
"主題類別": "其他主題",
|
| 156 |
+
"主題(第一層)": "山水",
|
| 157 |
+
"主題(第二層)": "奇石",
|
| 158 |
+
"主題說明": ""
|
| 159 |
+
}
|
| 160 |
+
],
|
| 161 |
+
"技法": {},
|
| 162 |
+
"參考資料": {
|
| 163 |
+
"內容簡介": [
|
| 164 |
+
"蔡肇字天啟，江蘇丹陽人。他是元豐二年(1079)的進士，詩文作得很好，也擅於畫山水、人物，特別愛畫枯槎老樹，珍異怪石。這一幅畫描繪兩座玲瓏多變的奇石，佇立在草地上。金與石本來象徵著永恆，因此在畫幅中，「石」與「壽」往往發生著聯想。",
|
| 165 |
+
"Ts'ai Chao (style name T'ien-ch'i ) came from Tang-yang in Kiangsu. He received the chin-shih degree in 1079. A skilled poet and essayist, he was also an accomplished painter of landscapes and figures. His favorite subject were ancient trees with bare branches and strangely-shaped rocks. This painting represents two strange stones, almost like carved gems, standing on the ground. Metal and stone are traditional symbols of endurance and steadfastness, and rocks represented in paintings of ten carry the connotation of long life."
|
| 166 |
+
],
|
| 167 |
+
"收藏著錄": [
|
| 168 |
+
"故宮書畫錄（卷五），第三冊，頁67",
|
| 169 |
+
"石渠寶笈三編（延春閣），第七冊，頁3070",
|
| 170 |
+
"故宮書畫圖錄，第一冊，頁313-314"
|
| 171 |
+
]
|
| 172 |
+
},
|
| 173 |
+
"保存維護": {
|
| 174 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 175 |
+
"相關連結": [
|
| 176 |
+
{
|
| 177 |
+
"文本": "抽盤點紀錄",
|
| 178 |
+
"onclick": "Invertory('故畫000070N000000000')"
|
| 179 |
+
},
|
| 180 |
+
{
|
| 181 |
+
"文本": "修護紀錄",
|
| 182 |
+
"onclick": "Repair('故畫000070N000000000')"
|
| 183 |
+
}
|
| 184 |
+
]
|
| 185 |
+
}
|
| 186 |
+
}
|
data/artifact_1326.json
ADDED
|
@@ -0,0 +1,84 @@
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1326",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1326?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋馬和之閒忙圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000081N000000000",
|
| 7 |
+
"作品號": "故畫00008100000",
|
| 8 |
+
"品名": "宋馬和之閒忙圖 軸\nSpare-time Occupation",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "馬和之",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "124.5x67.2"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "鑑藏寶璽",
|
| 29 |
+
"印主": "宣統帝",
|
| 30 |
+
"印記": "宣統御覽之寶"
|
| 31 |
+
}
|
| 32 |
+
],
|
| 33 |
+
"主題": [
|
| 34 |
+
{
|
| 35 |
+
"主題類別": "主要主題",
|
| 36 |
+
"主題(第一層)": "山水",
|
| 37 |
+
"主題(第二層)": "",
|
| 38 |
+
"主題說明": ""
|
| 39 |
+
},
|
| 40 |
+
{
|
| 41 |
+
"主題類別": "其他主題",
|
| 42 |
+
"主題(第一層)": "人物",
|
| 43 |
+
"主題(第二層)": "漁夫、船夫",
|
| 44 |
+
"主題說明": ""
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"主題類別": "其他主題",
|
| 48 |
+
"主題(第一層)": "山水",
|
| 49 |
+
"主題(第二層)": "江河、湖海",
|
| 50 |
+
"主題說明": ""
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"主題類別": "其他主題",
|
| 54 |
+
"主題(第一層)": "器用",
|
| 55 |
+
"主題(第二層)": "耕織漁獵",
|
| 56 |
+
"主題說明": "漁具"
|
| 57 |
+
}
|
| 58 |
+
],
|
| 59 |
+
"技法": [
|
| 60 |
+
{
|
| 61 |
+
"技法": "人物衣紋描法(粗細線條)",
|
| 62 |
+
"技法細目": ""
|
| 63 |
+
}
|
| 64 |
+
],
|
| 65 |
+
"參考資料": {
|
| 66 |
+
"收藏著錄": [
|
| 67 |
+
"故宮書畫錄（卷五），第三冊，頁73",
|
| 68 |
+
"故宮書畫圖錄，第二冊，頁25-26"
|
| 69 |
+
]
|
| 70 |
+
},
|
| 71 |
+
"保存維護": {
|
| 72 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 73 |
+
"相關連結": [
|
| 74 |
+
{
|
| 75 |
+
"文本": "抽盤點紀錄",
|
| 76 |
+
"onclick": "Invertory('故畫000081N000000000')"
|
| 77 |
+
},
|
| 78 |
+
{
|
| 79 |
+
"文本": "修護紀錄",
|
| 80 |
+
"onclick": "Repair('故畫000081N000000000')"
|
| 81 |
+
}
|
| 82 |
+
]
|
| 83 |
+
}
|
| 84 |
+
}
|
data/artifact_1328.json
ADDED
|
@@ -0,0 +1,324 @@
|
|
|
|
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|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1328",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1328?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋趙伯駒春山圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000073N000000000",
|
| 7 |
+
"作品號": "故畫00007300000",
|
| 8 |
+
"品名": "宋趙伯駒春山圖 軸\nSpring Moutains",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "趙伯駒,Zhao Boju",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "89.5x32.3"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "紙"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "題跋",
|
| 28 |
+
"作者": "清高宗",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "",
|
| 31 |
+
"書體": "行書",
|
| 32 |
+
"全文": "趙伯駒春山圖。"
|
| 33 |
+
},
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "題跋",
|
| 36 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 37 |
+
"位置": "本幅",
|
| 38 |
+
"款識": "御筆。題句後並識。",
|
| 39 |
+
"書體": "行書",
|
| 40 |
+
"全文": "此幀未署名款。而觀其風神筆力。與石渠寶笈所收趙伯駒真跡正合。因為審定標題。蓋伯駒畫多不署名。如赤壁圖經柯九思審定。漢宮圖經董其昌審定。而江山秋色則見跋語中。今為拈出。設遇精鑒如丹丘香光。必當證可。御筆。題句後並識。",
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印主": "清高宗",
|
| 44 |
+
"印記": "德充符"
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"印主": "清高宗",
|
| 48 |
+
"印記": "會心不遠"
|
| 49 |
+
}
|
| 50 |
+
]
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"題跋類別": "題跋",
|
| 54 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 55 |
+
"位置": "本幅",
|
| 56 |
+
"款識": "乾隆丁丑春月御題",
|
| 57 |
+
"書體": "行書",
|
| 58 |
+
"全文": "古寺雲霞嶠。人家桃柳村。精神北宋本。結構仲長論。大塊文章繢。春山櫽括言。不須問名氏。望可識王孫。乾隆丁丑春月御題。",
|
| 59 |
+
"印記資料": [
|
| 60 |
+
{
|
| 61 |
+
"印主": "清高宗",
|
| 62 |
+
"印記": "乾"
|
| 63 |
+
},
|
| 64 |
+
{
|
| 65 |
+
"印主": "清高宗",
|
| 66 |
+
"印記": "隆"
|
| 67 |
+
}
|
| 68 |
+
]
|
| 69 |
+
}
|
| 70 |
+
],
|
| 71 |
+
"印記資料": [
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "收傳印記",
|
| 74 |
+
"印主": "",
|
| 75 |
+
"印記": "珍藏畫印"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "收傳印記",
|
| 79 |
+
"印主": "柯九思",
|
| 80 |
+
"印記": "蘊真齋"
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"印記類別": "鑑藏寶璽",
|
| 84 |
+
"印主": "清高宗",
|
| 85 |
+
"印記": "八徵耄念之寶"
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"印記類別": "鑑藏寶璽",
|
| 89 |
+
"印主": "清高宗",
|
| 90 |
+
"印記": "三希堂精鑑璽"
|
| 91 |
+
},
|
| 92 |
+
{
|
| 93 |
+
"印記類別": "鑑藏寶璽",
|
| 94 |
+
"印主": "清高宗",
|
| 95 |
+
"印記": "古希天子"
|
| 96 |
+
},
|
| 97 |
+
{
|
| 98 |
+
"印記類別": "鑑藏寶璽",
|
| 99 |
+
"印主": "清高宗",
|
| 100 |
+
"印記": "石渠定鑑"
|
| 101 |
+
},
|
| 102 |
+
{
|
| 103 |
+
"印記類別": "鑑藏寶璽",
|
| 104 |
+
"印主": "清高宗",
|
| 105 |
+
"印記": "石渠寶笈"
|
| 106 |
+
},
|
| 107 |
+
{
|
| 108 |
+
"印記類別": "鑑藏寶璽",
|
| 109 |
+
"印主": "清高宗",
|
| 110 |
+
"印記": "宜子孫"
|
| 111 |
+
},
|
| 112 |
+
{
|
| 113 |
+
"印記類別": "鑑藏寶璽",
|
| 114 |
+
"印主": "宣統帝",
|
| 115 |
+
"印記": "宣統御覽之寶"
|
| 116 |
+
},
|
| 117 |
+
{
|
| 118 |
+
"印記類別": "鑑藏寶璽",
|
| 119 |
+
"印主": "宣統帝",
|
| 120 |
+
"印記": "宣統鑑賞"
|
| 121 |
+
},
|
| 122 |
+
{
|
| 123 |
+
"印記類別": "鑑藏寶璽",
|
| 124 |
+
"印主": "清高宗",
|
| 125 |
+
"印記": "乾隆御覽之寶"
|
| 126 |
+
},
|
| 127 |
+
{
|
| 128 |
+
"印記類別": "鑑藏寶璽",
|
| 129 |
+
"印主": "清高宗",
|
| 130 |
+
"印記": "乾隆鑑賞"
|
| 131 |
+
},
|
| 132 |
+
{
|
| 133 |
+
"印記類別": "鑑藏寶璽",
|
| 134 |
+
"印主": "宣統帝",
|
| 135 |
+
"印記": "無逸齋精鑒璽"
|
| 136 |
+
},
|
| 137 |
+
{
|
| 138 |
+
"印記類別": "鑑藏寶璽",
|
| 139 |
+
"印主": "清高宗",
|
| 140 |
+
"印記": "壽"
|
| 141 |
+
},
|
| 142 |
+
{
|
| 143 |
+
"印記類別": "鑑藏寶璽",
|
| 144 |
+
"印主": "清高宗",
|
| 145 |
+
"印記": "寧壽宮續入石渠寶笈"
|
| 146 |
+
},
|
| 147 |
+
{
|
| 148 |
+
"印記類別": "鑑藏寶璽",
|
| 149 |
+
"印主": "清高宗",
|
| 150 |
+
"印記": "樂壽堂鑒藏寶"
|
| 151 |
+
},
|
| 152 |
+
{
|
| 153 |
+
"印記類別": "鑑藏寶璽",
|
| 154 |
+
"印主": "清高宗",
|
| 155 |
+
"印記": "寶笈重編"
|
| 156 |
+
}
|
| 157 |
+
],
|
| 158 |
+
"主題": [
|
| 159 |
+
{
|
| 160 |
+
"主���類別": "主要主題",
|
| 161 |
+
"主題(第一層)": "山水",
|
| 162 |
+
"主題(第二層)": "春景",
|
| 163 |
+
"主題說明": ""
|
| 164 |
+
},
|
| 165 |
+
{
|
| 166 |
+
"主題類別": "其他主題",
|
| 167 |
+
"主題(第一層)": "人物",
|
| 168 |
+
"主題(第二層)": "百姓",
|
| 169 |
+
"主題說明": ""
|
| 170 |
+
},
|
| 171 |
+
{
|
| 172 |
+
"主題類別": "其他主題",
|
| 173 |
+
"主題(第一層)": "人物",
|
| 174 |
+
"主題(第二層)": "侍從（侍女、童僕）",
|
| 175 |
+
"主題說明": ""
|
| 176 |
+
},
|
| 177 |
+
{
|
| 178 |
+
"主題類別": "其他主題",
|
| 179 |
+
"主題(第一層)": "人物",
|
| 180 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 181 |
+
"主題說明": ""
|
| 182 |
+
},
|
| 183 |
+
{
|
| 184 |
+
"主題類別": "其他主題",
|
| 185 |
+
"主題(第一層)": "人物",
|
| 186 |
+
"主題(第二層)": "農夫",
|
| 187 |
+
"主題說明": ""
|
| 188 |
+
},
|
| 189 |
+
{
|
| 190 |
+
"主題類別": "其他主題",
|
| 191 |
+
"主題(第一層)": "人物",
|
| 192 |
+
"主題(第二層)": "漁夫、船夫",
|
| 193 |
+
"主題說明": ""
|
| 194 |
+
},
|
| 195 |
+
{
|
| 196 |
+
"主題類別": "其他主題",
|
| 197 |
+
"主題(第一層)": "人物",
|
| 198 |
+
"主題(第二層)": "樵夫",
|
| 199 |
+
"主題說明": ""
|
| 200 |
+
},
|
| 201 |
+
{
|
| 202 |
+
"主題類別": "其他主題",
|
| 203 |
+
"主題(第一層)": "山水",
|
| 204 |
+
"主題(第二層)": "江河、湖海",
|
| 205 |
+
"主題說明": ""
|
| 206 |
+
},
|
| 207 |
+
{
|
| 208 |
+
"主題類別": "其他主題",
|
| 209 |
+
"主題(第一層)": "山水",
|
| 210 |
+
"主題(第二層)": "溪澗、湍泉",
|
| 211 |
+
"主題說明": ""
|
| 212 |
+
},
|
| 213 |
+
{
|
| 214 |
+
"主題類別": "其他主題",
|
| 215 |
+
"主題(第一層)": "山水",
|
| 216 |
+
"主題(第二層)": "瀑布",
|
| 217 |
+
"主題說明": ""
|
| 218 |
+
},
|
| 219 |
+
{
|
| 220 |
+
"主題類別": "其他主題",
|
| 221 |
+
"主題(第一層)": "走獸",
|
| 222 |
+
"主題(第二層)": "牛",
|
| 223 |
+
"主題說明": ""
|
| 224 |
+
},
|
| 225 |
+
{
|
| 226 |
+
"主題類別": "其他主題",
|
| 227 |
+
"主題(第一層)": "走獸",
|
| 228 |
+
"主題(第二層)": "馬",
|
| 229 |
+
"主題說明": ""
|
| 230 |
+
},
|
| 231 |
+
{
|
| 232 |
+
"主題類別": "其他主題",
|
| 233 |
+
"主題(第一層)": "建築",
|
| 234 |
+
"主題(第二層)": "水榭",
|
| 235 |
+
"主題說明": ""
|
| 236 |
+
},
|
| 237 |
+
{
|
| 238 |
+
"主題類別": "其他主題",
|
| 239 |
+
"主題(第一層)": "建築",
|
| 240 |
+
"主題(第二層)": "寺廟",
|
| 241 |
+
"主題說明": ""
|
| 242 |
+
},
|
| 243 |
+
{
|
| 244 |
+
"主題類別": "其他主題",
|
| 245 |
+
"主題(第一層)": "建築",
|
| 246 |
+
"主題(第二層)": "房舍",
|
| 247 |
+
"主題說明": ""
|
| 248 |
+
},
|
| 249 |
+
{
|
| 250 |
+
"主題類別": "其他主題",
|
| 251 |
+
"主題(第一層)": "建築",
|
| 252 |
+
"主題(第二層)": "茅草屋",
|
| 253 |
+
"主題說明": ""
|
| 254 |
+
},
|
| 255 |
+
{
|
| 256 |
+
"主題類別": "其他主題",
|
| 257 |
+
"主題(第一層)": "建築",
|
| 258 |
+
"主題(第二層)": "橋",
|
| 259 |
+
"主題說明": ""
|
| 260 |
+
},
|
| 261 |
+
{
|
| 262 |
+
"主題類別": "其他主題",
|
| 263 |
+
"主題(第一層)": "船",
|
| 264 |
+
"主題(第二層)": "篷舟",
|
| 265 |
+
"主題說明": ""
|
| 266 |
+
},
|
| 267 |
+
{
|
| 268 |
+
"主題類別": "其他主題",
|
| 269 |
+
"主題(第一層)": "器用",
|
| 270 |
+
"主題(第二層)": "傢俱（屏風）",
|
| 271 |
+
"主題說明": ""
|
| 272 |
+
},
|
| 273 |
+
{
|
| 274 |
+
"主題類別": "其他主題",
|
| 275 |
+
"主題(第一層)": "樹木",
|
| 276 |
+
"主題(第二層)": "",
|
| 277 |
+
"主題說明": ""
|
| 278 |
+
},
|
| 279 |
+
{
|
| 280 |
+
"主題類別": "其他主題",
|
| 281 |
+
"主題(第一層)": "樹木",
|
| 282 |
+
"主題(第二層)": "松",
|
| 283 |
+
"主題說明": ""
|
| 284 |
+
},
|
| 285 |
+
{
|
| 286 |
+
"主題類別": "其他主題",
|
| 287 |
+
"主題(第一層)": "樹木",
|
| 288 |
+
"主題(第二層)": "楊柳",
|
| 289 |
+
"主題說明": ""
|
| 290 |
+
}
|
| 291 |
+
],
|
| 292 |
+
"技法": [
|
| 293 |
+
{
|
| 294 |
+
"技法": "皴法",
|
| 295 |
+
"技法細目": ""
|
| 296 |
+
}
|
| 297 |
+
],
|
| 298 |
+
"參考資料": {
|
| 299 |
+
"內容簡介": "趙伯駒(1120-1183)，字千里，宋太祖七世孫。善畫青綠山水，兼工花卉翎毛，尤長於人物樓臺界畫。本幅畫山水晴雲，遊騎尋春，村家桃柳，水亭茶話。通幅以青綠為主調，生動地表現出春日觸目階綠的景緻。",
|
| 300 |
+
"Description": "Beneath the fair-weather clouds of this landscape have come people on spring outings. Among the peaches and willows is a pavilion on the water, where people chat and drink tea. The painting's primary tones are green and blue, which vividly depict the predominantly green scenery that greets the eye in spring. Chao Po-chu, stylenamed Ch'ien-li, was the seventh generation grandson of Emperor Sung T'ai-tsu. He excelled in blue and green landscapes, flower and bird paintings, figure paintings, and ruled-line paintings of architectural subjects.",
|
| 301 |
+
"參考書目": [
|
| 302 |
+
"何傳馨，〈宋趙伯駒春山圖 軸〉，收入《十全乾隆─清高宗的藝術品味》（臺北：國立故宮博物院，2013.10），頁168-169。",
|
| 303 |
+
"1.〈宋趙伯駒春山圖〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁52。\r\n2.本社，〈宋趙伯駒春山圖軸〉，《故宮文物月刊》第26期（1985年5月），封底裡。"
|
| 304 |
+
],
|
| 305 |
+
"收藏著錄": [
|
| 306 |
+
"石渠寶笈續編（寧壽宮），第五冊，頁2705",
|
| 307 |
+
"故宮書畫錄（卷五），第三冊，頁69-70",
|
| 308 |
+
"故宮書畫圖錄，第二冊，頁3-4"
|
| 309 |
+
]
|
| 310 |
+
},
|
| 311 |
+
"保存維護": {
|
| 312 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 313 |
+
"相關連結": [
|
| 314 |
+
{
|
| 315 |
+
"文本": "抽盤點紀錄",
|
| 316 |
+
"onclick": "Invertory('故畫000073N000000000')"
|
| 317 |
+
},
|
| 318 |
+
{
|
| 319 |
+
"文本": "修護紀錄",
|
| 320 |
+
"onclick": "Repair('故畫000073N000000000')"
|
| 321 |
+
}
|
| 322 |
+
]
|
| 323 |
+
}
|
| 324 |
+
}
|
data/artifact_1329.json
ADDED
|
@@ -0,0 +1,153 @@
|
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|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
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|
|
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|
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|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1329",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1329?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋趙伯駒漢宮春曉 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000076N000000000",
|
| 7 |
+
"作品號": "故畫00007600000",
|
| 8 |
+
"品名": "宋趙伯駒漢宮春曉 軸\nSpring Morning in the Han Palace",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "趙伯駒",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "41.4x35.5"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "鑑藏寶璽",
|
| 29 |
+
"印主": "宣統帝",
|
| 30 |
+
"印記": "宣統御覽之寶"
|
| 31 |
+
},
|
| 32 |
+
{
|
| 33 |
+
"印記類別": "鑑藏寶璽",
|
| 34 |
+
"印主": "清仁宗",
|
| 35 |
+
"印記": "嘉慶御覽之寶"
|
| 36 |
+
}
|
| 37 |
+
],
|
| 38 |
+
"主題": [
|
| 39 |
+
{
|
| 40 |
+
"主題類別": "主要主題",
|
| 41 |
+
"主題(第一層)": "山水",
|
| 42 |
+
"主題(第二層)": "春景",
|
| 43 |
+
"主題說明": ""
|
| 44 |
+
},
|
| 45 |
+
{
|
| 46 |
+
"主題類別": "次要主題",
|
| 47 |
+
"主題(第一層)": "樹木",
|
| 48 |
+
"主題(第二層)": "",
|
| 49 |
+
"主題說明": ""
|
| 50 |
+
},
|
| 51 |
+
{
|
| 52 |
+
"主題類別": "其他主題",
|
| 53 |
+
"主題(第一層)": "人物",
|
| 54 |
+
"主題(第二層)": "侍從（侍女、童僕）",
|
| 55 |
+
"主題說明": ""
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"主題類別": "其他主題",
|
| 59 |
+
"主題(第一層)": "人物",
|
| 60 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 61 |
+
"主題說明": ""
|
| 62 |
+
},
|
| 63 |
+
{
|
| 64 |
+
"主題類別": "其他主題",
|
| 65 |
+
"主題(第一層)": "山水",
|
| 66 |
+
"主題(第二層)": "江河、湖海",
|
| 67 |
+
"主題說明": ""
|
| 68 |
+
},
|
| 69 |
+
{
|
| 70 |
+
"主題類別": "其他主題",
|
| 71 |
+
"主題(第一層)": "建築",
|
| 72 |
+
"主題(第二層)": "水榭",
|
| 73 |
+
"主題說明": ""
|
| 74 |
+
},
|
| 75 |
+
{
|
| 76 |
+
"主題類別": "其他主題",
|
| 77 |
+
"主題(第一層)": "建築",
|
| 78 |
+
"主題(第二層)": "宮殿",
|
| 79 |
+
"主題說明": ""
|
| 80 |
+
},
|
| 81 |
+
{
|
| 82 |
+
"主題類別": "其他主題",
|
| 83 |
+
"主題(第一層)": "建築",
|
| 84 |
+
"主題(第二層)": "庭院",
|
| 85 |
+
"主題說明": ""
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"主題類別": "其他主題",
|
| 89 |
+
"主題(第一層)": "建築",
|
| 90 |
+
"主題(第二層)": "臺閣",
|
| 91 |
+
"主題說明": ""
|
| 92 |
+
},
|
| 93 |
+
{
|
| 94 |
+
"主題類別": "其他主題",
|
| 95 |
+
"主題(第一層)": "建築",
|
| 96 |
+
"主題(第二層)": "橋",
|
| 97 |
+
"主題說明": ""
|
| 98 |
+
},
|
| 99 |
+
{
|
| 100 |
+
"主題類別": "其他主題",
|
| 101 |
+
"主題(第一層)": "器用",
|
| 102 |
+
"主題(第二層)": "傢俱（屏風）",
|
| 103 |
+
"主題說明": ""
|
| 104 |
+
},
|
| 105 |
+
{
|
| 106 |
+
"主題類別": "其他主題",
|
| 107 |
+
"主題(第一層)": "器用",
|
| 108 |
+
"主題(第二層)": "飲食器",
|
| 109 |
+
"主題說明": ""
|
| 110 |
+
},
|
| 111 |
+
{
|
| 112 |
+
"主題類別": "其他主題",
|
| 113 |
+
"主題(第一層)": "樹木",
|
| 114 |
+
"主題(第二層)": "松",
|
| 115 |
+
"主題說明": ""
|
| 116 |
+
}
|
| 117 |
+
],
|
| 118 |
+
"技法": [
|
| 119 |
+
{
|
| 120 |
+
"技法": "工筆",
|
| 121 |
+
"技法細目": ""
|
| 122 |
+
},
|
| 123 |
+
{
|
| 124 |
+
"技法": "界畫",
|
| 125 |
+
"技法細目": ""
|
| 126 |
+
},
|
| 127 |
+
{
|
| 128 |
+
"技法": "皴法",
|
| 129 |
+
"技法細目": "斧劈皴"
|
| 130 |
+
}
|
| 131 |
+
],
|
| 132 |
+
"參考資料": {
|
| 133 |
+
"內容簡介": "趙伯駒(約1120-1162)，宋太祖七世孫。令穰之子，仕至浙東 兵馬鈐轄。工山水、人物、樓台界畫。青嶂喬松，長橋跨空。重台樓閣，臨水而建，水上虛閣及亭台結構描繪仔細，可一窺古代建築風貌。",
|
| 134 |
+
"Description": "Chao Po-chu, a seventh generation descendant of Emperor T'ai-tsu of the Sung dynasty, was the son of the well-known artist Chao Ling-jang. He excelled in painting landscape, figures and architecture. In this painting, green mountains extend in the background while tall pines grow on the foreground slope. A long bridge spans over the river and by the riverside there are layers of terraces, pavilions and resident buildings. The architectures are realistically depicted, revealing the styles of the painter's days.",
|
| 135 |
+
"收藏著錄": [
|
| 136 |
+
"故宮書畫錄（卷五），第三冊，頁71",
|
| 137 |
+
"故宮書畫圖錄，第二冊，頁9-10"
|
| 138 |
+
]
|
| 139 |
+
},
|
| 140 |
+
"保存維護": {
|
| 141 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉��理",
|
| 142 |
+
"相關連結": [
|
| 143 |
+
{
|
| 144 |
+
"文本": "抽盤點紀錄",
|
| 145 |
+
"onclick": "Invertory('故畫000076N000000000')"
|
| 146 |
+
},
|
| 147 |
+
{
|
| 148 |
+
"文本": "修護紀錄",
|
| 149 |
+
"onclick": "Repair('故畫000076N000000000')"
|
| 150 |
+
}
|
| 151 |
+
]
|
| 152 |
+
}
|
| 153 |
+
}
|
data/artifact_1330.json
ADDED
|
@@ -0,0 +1,208 @@
|
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|
|
|
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|
|
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|
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|
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|
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|
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|
|
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|
|
|
|
|
|
|
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|
|
|
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|
|
|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
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|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
|
|
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|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1330",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1330?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋趙伯駒停琴摘阮圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000077N000000000",
|
| 7 |
+
"作品號": "故畫00007700000",
|
| 8 |
+
"品名": "宋趙伯駒停琴摘阮圖 軸\nThe Zither Player Rests as the Ruan Player Strums",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "趙伯駒",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "125.7x51.2"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "收傳印記",
|
| 29 |
+
"印主": "",
|
| 30 |
+
"印記": "（一印漫漶不清）"
|
| 31 |
+
},
|
| 32 |
+
{
|
| 33 |
+
"印記類別": "收傳印記",
|
| 34 |
+
"印主": "索額圖",
|
| 35 |
+
"印記": "也園索氏收藏書畫"
|
| 36 |
+
},
|
| 37 |
+
{
|
| 38 |
+
"印記類別": "收傳印記",
|
| 39 |
+
"印主": "阿爾喜普",
|
| 40 |
+
"印記": "東平"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "收傳印記",
|
| 44 |
+
"印主": "阿爾喜普",
|
| 45 |
+
"印記": "阿爾喜普之印"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "收傳印記",
|
| 49 |
+
"印主": "項元汴",
|
| 50 |
+
"印記": "項子京家珍藏"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "鑑藏寶璽",
|
| 54 |
+
"印主": "清仁宗",
|
| 55 |
+
"印記": "三希堂精鑑璽"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "鑑藏寶璽",
|
| 59 |
+
"印主": "清仁宗",
|
| 60 |
+
"印記": "石渠寶笈"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "鑑藏寶璽",
|
| 64 |
+
"印主": "清仁宗",
|
| 65 |
+
"印記": "宜子孫"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "鑑藏寶璽",
|
| 69 |
+
"印主": "宣統帝",
|
| 70 |
+
"印記": "宣統御覽之寶"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "鑑藏寶璽",
|
| 74 |
+
"印主": "清仁宗",
|
| 75 |
+
"印記": "嘉慶御覽之寶"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "鑑藏寶璽",
|
| 79 |
+
"印主": "清仁宗",
|
| 80 |
+
"印記": "嘉慶鑑賞"
|
| 81 |
+
},
|
| 82 |
+
{
|
| 83 |
+
"印記類別": "鑑藏寶璽",
|
| 84 |
+
"印主": "清仁宗",
|
| 85 |
+
"印記": "寶笈三編"
|
| 86 |
+
}
|
| 87 |
+
],
|
| 88 |
+
"主題": [
|
| 89 |
+
{
|
| 90 |
+
"主題類別": "主要主題",
|
| 91 |
+
"主題(第一層)": "人物",
|
| 92 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 93 |
+
"主題說明": ""
|
| 94 |
+
},
|
| 95 |
+
{
|
| 96 |
+
"主題類別": "主要主題",
|
| 97 |
+
"主題(第一層)": "山水",
|
| 98 |
+
"主題(第二層)": "",
|
| 99 |
+
"主題說明": ""
|
| 100 |
+
},
|
| 101 |
+
{
|
| 102 |
+
"主題類別": "其他主題",
|
| 103 |
+
"主題(第一層)": "人物",
|
| 104 |
+
"主題(第二層)": "侍從（侍女、童僕）",
|
| 105 |
+
"主題說明": ""
|
| 106 |
+
},
|
| 107 |
+
{
|
| 108 |
+
"主題類別": "其他主題",
|
| 109 |
+
"主題(第一層)": "山水",
|
| 110 |
+
"主題(第二層)": "石磴、棧道",
|
| 111 |
+
"主題說明": "石磴"
|
| 112 |
+
},
|
| 113 |
+
{
|
| 114 |
+
"主題類別": "其他主題",
|
| 115 |
+
"主題(第一層)": "果蔬",
|
| 116 |
+
"主題(第二層)": "",
|
| 117 |
+
"主題說明": ""
|
| 118 |
+
},
|
| 119 |
+
{
|
| 120 |
+
"主題類別": "其他主題",
|
| 121 |
+
"主題(第一層)": "花草",
|
| 122 |
+
"主題(第二層)": "水仙",
|
| 123 |
+
"主題說明": ""
|
| 124 |
+
},
|
| 125 |
+
{
|
| 126 |
+
"主題類別": "其他主題",
|
| 127 |
+
"主題(第一層)": "花草",
|
| 128 |
+
"主題(第二層)": "梔枝",
|
| 129 |
+
"主題說明": ""
|
| 130 |
+
},
|
| 131 |
+
{
|
| 132 |
+
"主題類別": "其他主題",
|
| 133 |
+
"主題(第一層)": "建築",
|
| 134 |
+
"主題(第二層)": "庭院",
|
| 135 |
+
"主題說明": ""
|
| 136 |
+
},
|
| 137 |
+
{
|
| 138 |
+
"主題類別": "其他主題",
|
| 139 |
+
"主題(第一層)": "建築",
|
| 140 |
+
"主題(第二層)": "欄杆",
|
| 141 |
+
"主題說明": ""
|
| 142 |
+
},
|
| 143 |
+
{
|
| 144 |
+
"主題類別": "其他主題",
|
| 145 |
+
"主題(第一層)": "翎毛",
|
| 146 |
+
"主題(第二層)": "喜鵲",
|
| 147 |
+
"主題說明": ""
|
| 148 |
+
},
|
| 149 |
+
{
|
| 150 |
+
"主題類別": "其他主題",
|
| 151 |
+
"主題(第一層)": "器用",
|
| 152 |
+
"主題(第二層)": "傢俱（屏風）",
|
| 153 |
+
"主題說明": "毯；蓆"
|
| 154 |
+
},
|
| 155 |
+
{
|
| 156 |
+
"主題類別": "其他主題",
|
| 157 |
+
"主題(第一層)": "器用",
|
| 158 |
+
"主題(第二層)": "飲食器",
|
| 159 |
+
"主題說明": "水果盤"
|
| 160 |
+
},
|
| 161 |
+
{
|
| 162 |
+
"主題類別": "其他主題",
|
| 163 |
+
"主題(第一層)": "器用",
|
| 164 |
+
"主題(第二層)": "樂器",
|
| 165 |
+
"主題說明": ""
|
| 166 |
+
},
|
| 167 |
+
{
|
| 168 |
+
"主題類別": "其他主題",
|
| 169 |
+
"主題(第一層)": "樹木",
|
| 170 |
+
"主題(第二層)": "",
|
| 171 |
+
"主題說明": ""
|
| 172 |
+
},
|
| 173 |
+
{
|
| 174 |
+
"主題類別": "其他主題",
|
| 175 |
+
"主題(第一層)": "樹木",
|
| 176 |
+
"主題(第二層)": "松",
|
| 177 |
+
"主題說明": ""
|
| 178 |
+
}
|
| 179 |
+
],
|
| 180 |
+
"技法": [
|
| 181 |
+
{
|
| 182 |
+
"技法": "人物衣紋描法(粗細線條)",
|
| 183 |
+
"技法細目": ""
|
| 184 |
+
}
|
| 185 |
+
],
|
| 186 |
+
"參考資料": {
|
| 187 |
+
"內容簡介": "趙伯駒（約1120-1162），字千里。乃宋太祖七世孫。趙令穰之子，官至浙東 兵馬鈐轄。善青綠山水及木石，兼工花卉翎毛，尤長於人物，精神清潤，能別狀貌。本幅寫松石間瓜果堆盤，一人袒衣席地撥阮咸，一人背坐握羽扇傾聽，橫琴於膝，二童子捧壺執卷。人物、配景俱用鉤勒填彩法敬謹寫就，間或輔以胡粉重提、暈染，黑白相映，分外照人眼明。",
|
| 188 |
+
"Description": "Chao Po-chu was the son of Chao Ling-jang and a seventh generation descendant of T'ai-tsu, the founder of the Sung dynasty. He was a skilled painter of landscapes in blue and green style and also adept at depicting birds and flowers and figures. By a pine and rock are a pile of melons. One man, with upper garment bared, plucks a juan lute. Another man behind listens while he cools himself with a feather fan, a ch'in resting across his lap. Two young servants stand in attendance with vase and scroll. Figures and background are carefully drawn with colors added. Washes and a light powder are used to accentuate and highlight the figures.",
|
| 189 |
+
"收藏著錄": [
|
| 190 |
+
"石渠寶笈三編（延春閣），第三冊，頁1446",
|
| 191 |
+
"故宮書畫錄（卷五），第三冊，頁71-72",
|
| 192 |
+
"故宮書畫圖錄，第二冊，頁11-12"
|
| 193 |
+
]
|
| 194 |
+
},
|
| 195 |
+
"保存維護": {
|
| 196 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 197 |
+
"相關連結": [
|
| 198 |
+
{
|
| 199 |
+
"文本": "抽盤點紀錄",
|
| 200 |
+
"onclick": "Invertory('故畫000077N000000000')"
|
| 201 |
+
},
|
| 202 |
+
{
|
| 203 |
+
"文本": "修護紀錄",
|
| 204 |
+
"onclick": "Repair('故畫000077N000000000')"
|
| 205 |
+
}
|
| 206 |
+
]
|
| 207 |
+
}
|
| 208 |
+
}
|
data/artifact_1331.json
ADDED
|
@@ -0,0 +1,159 @@
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
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|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1331",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1331?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋趙伯駒畫海神聽講圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000078N000000000",
|
| 7 |
+
"作品號": "故畫00007800000",
|
| 8 |
+
"品名": "宋趙伯駒畫海神聽講圖 軸\nWater Spirits Listening to an Exposition of the Buddhist Scriptures",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "趙伯駒",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "137.4x73.2"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "鑑藏寶璽",
|
| 29 |
+
"印主": "清高宗",
|
| 30 |
+
"印記": "三希堂精鑑璽"
|
| 31 |
+
},
|
| 32 |
+
{
|
| 33 |
+
"印記類別": "鑑藏寶璽",
|
| 34 |
+
"印主": "清高宗",
|
| 35 |
+
"印記": "太上皇帝之寶"
|
| 36 |
+
},
|
| 37 |
+
{
|
| 38 |
+
"印記類別": "鑑藏寶璽",
|
| 39 |
+
"印主": "清高宗",
|
| 40 |
+
"印記": "宜子孫"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "鑑藏寶璽",
|
| 44 |
+
"印主": "宣統帝",
|
| 45 |
+
"印記": "宣統御覽之寶"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "鑑藏寶璽",
|
| 49 |
+
"印主": "清高宗",
|
| 50 |
+
"印記": "珠林重定"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "鑑藏寶璽",
|
| 54 |
+
"印主": "清高宗",
|
| 55 |
+
"印記": "秘殿珠林"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "鑑藏寶璽",
|
| 59 |
+
"印主": "清高宗",
|
| 60 |
+
"印記": "秘殿新編"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "鑑藏寶璽",
|
| 64 |
+
"印主": "清高宗",
|
| 65 |
+
"印記": "乾清宮鑑藏寶"
|
| 66 |
+
},
|
| 67 |
+
{
|
| 68 |
+
"印記類別": "鑑藏寶璽",
|
| 69 |
+
"印主": "清高宗",
|
| 70 |
+
"印記": "乾隆御覽之寶"
|
| 71 |
+
},
|
| 72 |
+
{
|
| 73 |
+
"印記類別": "鑑藏寶璽",
|
| 74 |
+
"印主": "清高宗",
|
| 75 |
+
"印記": "乾隆鑑賞"
|
| 76 |
+
},
|
| 77 |
+
{
|
| 78 |
+
"印記類別": "鑑藏寶璽",
|
| 79 |
+
"印主": "清仁宗",
|
| 80 |
+
"印記": "嘉慶御覽之寶"
|
| 81 |
+
}
|
| 82 |
+
],
|
| 83 |
+
"主題": [
|
| 84 |
+
{
|
| 85 |
+
"主題類別": "其他主題",
|
| 86 |
+
"主題(第一層)": "佛道人物",
|
| 87 |
+
"主題(第二層)": "神、仙",
|
| 88 |
+
"主題說明": "海神"
|
| 89 |
+
},
|
| 90 |
+
{
|
| 91 |
+
"主題類別": "其他主題",
|
| 92 |
+
"主題(第一層)": "佛道人物",
|
| 93 |
+
"主題(第二層)": "羅漢（應真、尊者）",
|
| 94 |
+
"主題說明": ""
|
| 95 |
+
},
|
| 96 |
+
{
|
| 97 |
+
"主題類別": "其他主題",
|
| 98 |
+
"主題(第一層)": "走獸",
|
| 99 |
+
"主題(第二層)": "龍",
|
| 100 |
+
"主題說明": ""
|
| 101 |
+
},
|
| 102 |
+
{
|
| 103 |
+
"主題類別": "其他主題",
|
| 104 |
+
"主題(第一層)": "建築",
|
| 105 |
+
"主題(第二層)": "臺閣",
|
| 106 |
+
"主題說明": ""
|
| 107 |
+
},
|
| 108 |
+
{
|
| 109 |
+
"主題類別": "其他主題",
|
| 110 |
+
"主題(第一層)": "經史‧故事",
|
| 111 |
+
"主題(第二層)": "",
|
| 112 |
+
"主題說明": "海神聽講"
|
| 113 |
+
},
|
| 114 |
+
{
|
| 115 |
+
"主題類別": "其他主題",
|
| 116 |
+
"主題(第一層)": "器用",
|
| 117 |
+
"主題(第二層)": "宗教器用",
|
| 118 |
+
"主題說明": ""
|
| 119 |
+
},
|
| 120 |
+
{
|
| 121 |
+
"主題類別": "其他主題",
|
| 122 |
+
"主題(第一層)": "樹木",
|
| 123 |
+
"主題(第二層)": "竹",
|
| 124 |
+
"主題說明": ""
|
| 125 |
+
}
|
| 126 |
+
],
|
| 127 |
+
"技法": [
|
| 128 |
+
{
|
| 129 |
+
"技法": "人物衣紋描法(粗細線條)",
|
| 130 |
+
"技法細目": ""
|
| 131 |
+
},
|
| 132 |
+
{
|
| 133 |
+
"技法": "工筆",
|
| 134 |
+
"技法細目": ""
|
| 135 |
+
}
|
| 136 |
+
],
|
| 137 |
+
"參考資料": {
|
| 138 |
+
"內容簡介": "趙伯駒(1120-1162前後)，字千里。是宋朝宗室，太祖的第七世孫。善畫山水及木石，兼畫花卉翎毛。畫人物，精神清潤，能把握特徵。這幅畫佛盤膝坐氈上說法，下方海神身披弓劍跪地合掌參拜。前置海神奉獻的聚寶盆。几上瓶中有煙，將說法內容顯現於後，作雲中的宮闕。但因絹色陳舊，不容易看清楚。全幅人物勾畫圓勁，著色明淨沉靜，神采不減於新畫。",
|
| 139 |
+
"Description": "Chao Po-chu was a member of the Sung Imperial house, being descended in the seventh generation from T'ai-tsu emperor. He excelled at painting landscapes, figures, and architecture, but was also competent in bird and flower paintings. He painted his figures with moist brush and was able not only to portray his subjects with fresh charm but also with accurate grasp of their characteristics. This painting shows a lohan sitting cross-legged on a rug, expounding scripture. Below is kneeling an ocean spirit wearing both sword and bow who has come to attend the ritual. In the foreground is a magic vessel offered by the ocean spirit. From a vase on the table emanates incense smoke, which rises into mid-air and reveals heavenly palaces and halls. The age of the silk makes the picture dark and somewhat unclear. However, the figures are painted with such vigour of stroke and the colors possess such calm and purity that the essential spirit of the work remains unimpaired.",
|
| 140 |
+
"收藏著錄": [
|
| 141 |
+
"秘殿珠林續編（乾清宮），第一冊，頁75",
|
| 142 |
+
"故宮書畫錄（卷五），第三冊，頁72",
|
| 143 |
+
"故宮書畫圖錄，第二冊，頁13-14"
|
| 144 |
+
]
|
| 145 |
+
},
|
| 146 |
+
"保存維護": {
|
| 147 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 148 |
+
"相關連結": [
|
| 149 |
+
{
|
| 150 |
+
"文本": "抽盤點紀錄",
|
| 151 |
+
"onclick": "Invertory('故畫000078N000000000')"
|
| 152 |
+
},
|
| 153 |
+
{
|
| 154 |
+
"文本": "修護紀錄",
|
| 155 |
+
"onclick": "Repair('故畫000078N000000000')"
|
| 156 |
+
}
|
| 157 |
+
]
|
| 158 |
+
}
|
| 159 |
+
}
|
data/artifact_1354.json
ADDED
|
@@ -0,0 +1,127 @@
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1354",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1354?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋蘇漢臣秋庭戲嬰圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000089N000000000",
|
| 7 |
+
"作品號": "故畫00008900000",
|
| 8 |
+
"品名": "宋蘇漢臣秋庭戲嬰圖 軸\nChildren Playing in a Garden in Autumn",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "蘇漢臣",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "60.3x74.4"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "蘇漢臣",
|
| 29 |
+
"位置": "本幅(石間)",
|
| 30 |
+
"款識": "漢臣",
|
| 31 |
+
"書體": "楷書",
|
| 32 |
+
"全文": ""
|
| 33 |
+
}
|
| 34 |
+
],
|
| 35 |
+
"印記資料": [
|
| 36 |
+
{
|
| 37 |
+
"印記類別": "鑑藏寶璽",
|
| 38 |
+
"印主": "清高宗",
|
| 39 |
+
"印記": "三希堂精鑑璽"
|
| 40 |
+
},
|
| 41 |
+
{
|
| 42 |
+
"印記類別": "鑑藏寶璽",
|
| 43 |
+
"印主": "清高宗",
|
| 44 |
+
"印記": "石渠寶笈"
|
| 45 |
+
},
|
| 46 |
+
{
|
| 47 |
+
"印記類別": "鑑藏寶璽",
|
| 48 |
+
"印主": "清高宗",
|
| 49 |
+
"印記": "宜子孫"
|
| 50 |
+
},
|
| 51 |
+
{
|
| 52 |
+
"印記類別": "鑑藏寶璽",
|
| 53 |
+
"印主": "清高宗",
|
| 54 |
+
"印記": "乾隆御覽之寶"
|
| 55 |
+
},
|
| 56 |
+
{
|
| 57 |
+
"印記類別": "鑑藏寶璽",
|
| 58 |
+
"印主": "清高宗",
|
| 59 |
+
"印記": "乾隆鑑賞"
|
| 60 |
+
}
|
| 61 |
+
],
|
| 62 |
+
"主題": [
|
| 63 |
+
{
|
| 64 |
+
"主題類別": "主要主題",
|
| 65 |
+
"主題(第一層)": "人物",
|
| 66 |
+
"主題(第二層)": "孩童",
|
| 67 |
+
"主題說明": "三人"
|
| 68 |
+
},
|
| 69 |
+
{
|
| 70 |
+
"主題類別": "其他主題",
|
| 71 |
+
"主題(第一層)": "山水",
|
| 72 |
+
"主題(第二層)": "秋景",
|
| 73 |
+
"主題說明": ""
|
| 74 |
+
},
|
| 75 |
+
{
|
| 76 |
+
"主題類別": "其他主題",
|
| 77 |
+
"主題(第一層)": "建築",
|
| 78 |
+
"主題(第二層)": "庭院",
|
| 79 |
+
"主題說明": ""
|
| 80 |
+
},
|
| 81 |
+
{
|
| 82 |
+
"主題類別": "其他主題",
|
| 83 |
+
"主題(第一層)": "草蟲",
|
| 84 |
+
"主題(第二層)": "蟋蟀",
|
| 85 |
+
"主題說明": ""
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"主題類別": "其他主題",
|
| 89 |
+
"主題(第一層)": "器用",
|
| 90 |
+
"主題(第二層)": "童玩",
|
| 91 |
+
"主題說明": "蟋蟀罐"
|
| 92 |
+
},
|
| 93 |
+
{
|
| 94 |
+
"主題類別": "其他主題",
|
| 95 |
+
"主題(第一層)": "樹木",
|
| 96 |
+
"主題(第二層)": "梧桐",
|
| 97 |
+
"主題說明": ""
|
| 98 |
+
}
|
| 99 |
+
],
|
| 100 |
+
"技法": [
|
| 101 |
+
{
|
| 102 |
+
"技法": "工筆",
|
| 103 |
+
"技法細目": ""
|
| 104 |
+
}
|
| 105 |
+
],
|
| 106 |
+
"參考資料": {
|
| 107 |
+
"內容簡介": "蘇漢臣(約西元十二世紀)，河南開封人。曾任宣和畫院待詔，北宋亡於金後，南宋紹興年間又進畫院復職。師劉宗古，工畫道釋、人物臻妙，尤善嬰孩。本幅繪桐蔭蔽日，三童子聚集於樹底消暑，中一人持細棒鬥促織為戲，旁二人亦喜亦懼，欲試又止，情態異常逗人，惟人物比例暨衣飾敷染稍嫌板刻，疑為後代畫家託名之作。",
|
| 108 |
+
"Description": "Su Han-ch'en was a native of K'ai-feng, Honan. He was employed as a Painter-in-Attendance at the Painting Academy during the Hsuan-ho reign of the Northern Sung (1119-1125). After the Northern Sung fell to the Chin, he fled south and was reemployed in his old position at the Southern Sung court during the Shao-hsing reign (1131-1162). Su Han-ch'en studied with Liu Tsung-ku. He excelled as a figure painter, especially of religious subjects and children. Three children gather under the shade of a spreading firmania tree, enjoying the refreshing shade. One child uses a thin staff to toy with a cricket. Two children to the side look both excited and frightened, wanting to join in, but a little hesitant. The expressions of the children are vividly portrayed, but the clothes are painted rather stiffly. This may be the work of a later artist, with Su Han-ch'en's name added for prestige.",
|
| 109 |
+
"收藏著錄": [
|
| 110 |
+
"故宮書畫錄（卷五），第三冊，頁79-80",
|
| 111 |
+
"故宮書畫圖錄，第二冊，頁69-70"
|
| 112 |
+
]
|
| 113 |
+
},
|
| 114 |
+
"保存維護": {
|
| 115 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 116 |
+
"相關連結": [
|
| 117 |
+
{
|
| 118 |
+
"文本": "抽盤點紀錄",
|
| 119 |
+
"onclick": "Invertory('故畫000089N000000000')"
|
| 120 |
+
},
|
| 121 |
+
{
|
| 122 |
+
"文本": "修護紀錄",
|
| 123 |
+
"onclick": "Repair('故畫000089N000000000')"
|
| 124 |
+
}
|
| 125 |
+
]
|
| 126 |
+
}
|
| 127 |
+
}
|
data/artifact_1355.json
ADDED
|
@@ -0,0 +1,178 @@
|
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|
|
|
|
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|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
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|
|
|
|
|
|
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|
|
|
|
|
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|
|
|
|
|
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|
|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1355",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1355?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋蘇漢臣貨郎圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000090N000000000",
|
| 7 |
+
"作品號": "故畫00009000000",
|
| 8 |
+
"品名": "宋蘇漢臣貨郎圖 軸\nThe Knick-Knack Peddler",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "蘇漢臣",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "159.2x97"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": {},
|
| 26 |
+
"印記資料": [
|
| 27 |
+
{
|
| 28 |
+
"印記類別": "鑑藏寶璽",
|
| 29 |
+
"印主": "清內府印",
|
| 30 |
+
"印記": "三希堂精鑑璽"
|
| 31 |
+
},
|
| 32 |
+
{
|
| 33 |
+
"印記類別": "鑑藏寶璽",
|
| 34 |
+
"印主": "清內府印",
|
| 35 |
+
"印記": "石渠寶笈"
|
| 36 |
+
},
|
| 37 |
+
{
|
| 38 |
+
"印記類別": "鑑藏寶璽",
|
| 39 |
+
"印主": "清內府印",
|
| 40 |
+
"印記": "宜子孫"
|
| 41 |
+
},
|
| 42 |
+
{
|
| 43 |
+
"印記類別": "鑑藏寶璽",
|
| 44 |
+
"印主": "宣統帝",
|
| 45 |
+
"印記": "宣統御覽之寶"
|
| 46 |
+
},
|
| 47 |
+
{
|
| 48 |
+
"印記類別": "鑑藏寶璽",
|
| 49 |
+
"印主": "清高宗",
|
| 50 |
+
"印記": "乾隆御覽之寶"
|
| 51 |
+
},
|
| 52 |
+
{
|
| 53 |
+
"印記類別": "鑑藏寶璽",
|
| 54 |
+
"印主": "清仁宗",
|
| 55 |
+
"印記": "嘉慶御覽之寶"
|
| 56 |
+
},
|
| 57 |
+
{
|
| 58 |
+
"印記類別": "鑑藏寶璽",
|
| 59 |
+
"印主": "清仁宗",
|
| 60 |
+
"印記": "嘉慶鑑賞"
|
| 61 |
+
},
|
| 62 |
+
{
|
| 63 |
+
"印記類別": "鑑藏寶璽",
|
| 64 |
+
"印主": "清仁宗",
|
| 65 |
+
"印記": "寶笈三編"
|
| 66 |
+
}
|
| 67 |
+
],
|
| 68 |
+
"主題": [
|
| 69 |
+
{
|
| 70 |
+
"主題類別": "主要主題",
|
| 71 |
+
"主題(第一層)": "人物",
|
| 72 |
+
"主題(第二層)": "貨郎",
|
| 73 |
+
"主題說明": ""
|
| 74 |
+
},
|
| 75 |
+
{
|
| 76 |
+
"主題類別": "次要主題",
|
| 77 |
+
"主題(第一層)": "人物",
|
| 78 |
+
"主題(第二層)": "孩童",
|
| 79 |
+
"主題說明": ""
|
| 80 |
+
},
|
| 81 |
+
{
|
| 82 |
+
"主題類別": "其他主題",
|
| 83 |
+
"主題(第一層)": "山水",
|
| 84 |
+
"主題(第二層)": "奇石",
|
| 85 |
+
"主題說明": ""
|
| 86 |
+
},
|
| 87 |
+
{
|
| 88 |
+
"主題類別": "其他主題",
|
| 89 |
+
"主題(第一層)": "車",
|
| 90 |
+
"主題(第二層)": "人力車",
|
| 91 |
+
"主題說明": ""
|
| 92 |
+
},
|
| 93 |
+
{
|
| 94 |
+
"主題類別": "其他主題",
|
| 95 |
+
"主題(第一層)": "花草",
|
| 96 |
+
"主題(第二層)": "水仙",
|
| 97 |
+
"主題說明": ""
|
| 98 |
+
},
|
| 99 |
+
{
|
| 100 |
+
"主題類別": "其他主題",
|
| 101 |
+
"主題(第一層)": "花草",
|
| 102 |
+
"主題(第二層)": "茶花",
|
| 103 |
+
"主題說明": ""
|
| 104 |
+
},
|
| 105 |
+
{
|
| 106 |
+
"主題類別": "其他主題",
|
| 107 |
+
"主題(第一層)": "花草",
|
| 108 |
+
"主題(第二層)": "梅（白．紅．蠟梅）",
|
| 109 |
+
"主題說明": ""
|
| 110 |
+
},
|
| 111 |
+
{
|
| 112 |
+
"主題類別": "其他主題",
|
| 113 |
+
"主題(第一層)": "器用",
|
| 114 |
+
"主題(第二層)": "",
|
| 115 |
+
"主題說明": ""
|
| 116 |
+
},
|
| 117 |
+
{
|
| 118 |
+
"主題類別": "其他主題",
|
| 119 |
+
"主題(第一層)": "器用",
|
| 120 |
+
"主題(第二層)": "服飾（對人）",
|
| 121 |
+
"主題說明": ""
|
| 122 |
+
},
|
| 123 |
+
{
|
| 124 |
+
"主題類別": "其他主題",
|
| 125 |
+
"主題(第一層)": "器用",
|
| 126 |
+
"主題(第二層)": "花器",
|
| 127 |
+
"主題說明": ""
|
| 128 |
+
},
|
| 129 |
+
{
|
| 130 |
+
"主題類別": "其他主題",
|
| 131 |
+
"主題(第一層)": "器用",
|
| 132 |
+
"主題(第二層)": "童玩",
|
| 133 |
+
"主題說明": ""
|
| 134 |
+
},
|
| 135 |
+
{
|
| 136 |
+
"主題類別": "其他主題",
|
| 137 |
+
"主題(第一層)": "器用",
|
| 138 |
+
"主題(第二層)": "飲食器",
|
| 139 |
+
"主題說明": ""
|
| 140 |
+
},
|
| 141 |
+
{
|
| 142 |
+
"主題類別": "其他主題",
|
| 143 |
+
"主題(第一層)": "樹木",
|
| 144 |
+
"主題(第二層)": "竹",
|
| 145 |
+
"主題說明": ""
|
| 146 |
+
}
|
| 147 |
+
],
|
| 148 |
+
"技法": [
|
| 149 |
+
{
|
| 150 |
+
"技法": "工筆",
|
| 151 |
+
"技法細目": ""
|
| 152 |
+
}
|
| 153 |
+
],
|
| 154 |
+
"參考資料": {
|
| 155 |
+
"收藏著錄": [
|
| 156 |
+
"石渠寶笈三編（延春閣），第七冊，頁3304",
|
| 157 |
+
"故宮書畫錄（卷五），第三冊，頁80-81",
|
| 158 |
+
"故宮書畫錄，第二冊，頁73-74"
|
| 159 |
+
],
|
| 160 |
+
"參考書目": [
|
| 161 |
+
"1.〈傳宋蘇漢臣貨郎圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁178。\r\n2.馬晉封，〈蘇漢臣貨郎圖〉，《故宮文物月刊》，第11期（1984年2月），頁65-69。",
|
| 162 |
+
"童文娥，〈宋蘇漢臣貨郎圖 軸〉，收入童文娥主編《畫琳瑯—貨郎圖》（臺北：國立故宮博物院，2021.04），頁32-39、140。"
|
| 163 |
+
]
|
| 164 |
+
},
|
| 165 |
+
"保存維護": {
|
| 166 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 167 |
+
"相關連結": [
|
| 168 |
+
{
|
| 169 |
+
"文本": "抽盤點紀錄",
|
| 170 |
+
"onclick": "Invertory('故畫000090N000000000')"
|
| 171 |
+
},
|
| 172 |
+
{
|
| 173 |
+
"文本": "修護紀錄",
|
| 174 |
+
"onclick": "Repair('故畫000090N000000000')"
|
| 175 |
+
}
|
| 176 |
+
]
|
| 177 |
+
}
|
| 178 |
+
}
|
data/artifact_1356.json
ADDED
|
@@ -0,0 +1,220 @@
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
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|
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|
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|
| 1 |
+
{
|
| 2 |
+
"UniqueID": "1356",
|
| 3 |
+
"URL": "https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1356?dep=P&mode=full",
|
| 4 |
+
"文物名称": "宋張訓禮圍爐博古圖 軸",
|
| 5 |
+
"基本資料": {
|
| 6 |
+
"文物統一編號": "故畫000095N000000000",
|
| 7 |
+
"作品號": "故畫00009500000",
|
| 8 |
+
"品名": "宋張訓禮圍爐博古圖 軸",
|
| 9 |
+
"分類": "繪畫",
|
| 10 |
+
"作者": "張訓禮",
|
| 11 |
+
"數量": "一軸"
|
| 12 |
+
},
|
| 13 |
+
"典藏尺寸": [
|
| 14 |
+
{
|
| 15 |
+
"位置": "本幅",
|
| 16 |
+
"尺寸(公分)": "138x72.7"
|
| 17 |
+
}
|
| 18 |
+
],
|
| 19 |
+
"質地": [
|
| 20 |
+
{
|
| 21 |
+
"質地位置": "本幅",
|
| 22 |
+
"質地": "絹"
|
| 23 |
+
}
|
| 24 |
+
],
|
| 25 |
+
"題跋資料": [
|
| 26 |
+
{
|
| 27 |
+
"題跋類別": "作者款識",
|
| 28 |
+
"作者": "張敦禮",
|
| 29 |
+
"位置": "本幅",
|
| 30 |
+
"款識": "張敦禮製",
|
| 31 |
+
"書體": "楷書",
|
| 32 |
+
"全文": ""
|
| 33 |
+
},
|
| 34 |
+
{
|
| 35 |
+
"題跋類別": "題跋",
|
| 36 |
+
"作者": "清高宗\n印記\nexpand_more",
|
| 37 |
+
"位置": "本幅",
|
| 38 |
+
"款識": "甲午新正上澣御題",
|
| 39 |
+
"書體": "行書",
|
| 40 |
+
"全文": "訓禮易敦禮。二人非一人。相如似有慕。欲訝孰為真。古器玩三代。閒庭聚四賓。朱欄干曲畔。梅信正含春。甲午新正上澣御題。",
|
| 41 |
+
"印記資料": [
|
| 42 |
+
{
|
| 43 |
+
"印主": "清高宗",
|
| 44 |
+
"印記": "乾隆宸翰"
|
| 45 |
+
}
|
| 46 |
+
]
|
| 47 |
+
}
|
| 48 |
+
],
|
| 49 |
+
"印記資料": [
|
| 50 |
+
{
|
| 51 |
+
"印記類別": "鑑藏寶璽",
|
| 52 |
+
"印主": "清內府印",
|
| 53 |
+
"印記": "三希堂精鑑璽"
|
| 54 |
+
},
|
| 55 |
+
{
|
| 56 |
+
"印記類別": "鑑藏寶璽",
|
| 57 |
+
"印主": "清高宗",
|
| 58 |
+
"印記": "石渠定鑑"
|
| 59 |
+
},
|
| 60 |
+
{
|
| 61 |
+
"印記類別": "鑑藏寶璽",
|
| 62 |
+
"印主": "清內府印",
|
| 63 |
+
"印記": "石渠寶笈"
|
| 64 |
+
},
|
| 65 |
+
{
|
| 66 |
+
"印記類別": "鑑藏寶璽",
|
| 67 |
+
"印主": "清內府印",
|
| 68 |
+
"印記": "宜子孫"
|
| 69 |
+
},
|
| 70 |
+
{
|
| 71 |
+
"印記類別": "鑑藏寶璽",
|
| 72 |
+
"印主": "宣統帝",
|
| 73 |
+
"印記": "宣統御覽之寶"
|
| 74 |
+
},
|
| 75 |
+
{
|
| 76 |
+
"印記類別": "鑑藏寶璽",
|
| 77 |
+
"印主": "清高宗",
|
| 78 |
+
"印記": "乾隆御覽之寶"
|
| 79 |
+
},
|
| 80 |
+
{
|
| 81 |
+
"印記類別": "鑑藏寶璽",
|
| 82 |
+
"印主": "清高宗",
|
| 83 |
+
"印記": "乾隆鑑賞"
|
| 84 |
+
},
|
| 85 |
+
{
|
| 86 |
+
"印記類別": "鑑藏寶璽",
|
| 87 |
+
"印主": "清高宗",
|
| 88 |
+
"印記": "寧壽宮續入石渠寶笈"
|
| 89 |
+
},
|
| 90 |
+
{
|
| 91 |
+
"印記類別": "鑑藏寶璽",
|
| 92 |
+
"印主": "清高宗",
|
| 93 |
+
"印記": "樂壽堂鑒藏寶"
|
| 94 |
+
},
|
| 95 |
+
{
|
| 96 |
+
"印記類別": "鑑藏寶璽",
|
| 97 |
+
"印主": "清高宗",
|
| 98 |
+
"印記": "寶笈重編"
|
| 99 |
+
}
|
| 100 |
+
],
|
| 101 |
+
"主題": [
|
| 102 |
+
{
|
| 103 |
+
"主題類別": "主要主題",
|
| 104 |
+
"主題(第一層)": "經史‧故事",
|
| 105 |
+
"主題(第二層)": "",
|
| 106 |
+
"主題說明": "博古圖"
|
| 107 |
+
},
|
| 108 |
+
{
|
| 109 |
+
"主題類別": "其他主題",
|
| 110 |
+
"主題(第一層)": "人物",
|
| 111 |
+
"主題(第二層)": "侍從（侍女、童僕）",
|
| 112 |
+
"主題說明": ""
|
| 113 |
+
},
|
| 114 |
+
{
|
| 115 |
+
"主題類別": "其他主題",
|
| 116 |
+
"主題(第一層)": "人物",
|
| 117 |
+
"主題(第二層)": "高士（士人、隱士）",
|
| 118 |
+
"主題說明": ""
|
| 119 |
+
},
|
| 120 |
+
{
|
| 121 |
+
"主題類別": "其他主題",
|
| 122 |
+
"主題(第一層)": "山水",
|
| 123 |
+
"主題(第二層)": "奇石",
|
| 124 |
+
"主題說明": ""
|
| 125 |
+
},
|
| 126 |
+
{
|
| 127 |
+
"主題類別": "其他主題",
|
| 128 |
+
"主題(第一層)": "建築",
|
| 129 |
+
"主題(第二層)": "庭院",
|
| 130 |
+
"主題說明": ""
|
| 131 |
+
},
|
| 132 |
+
{
|
| 133 |
+
"主題類別": "其他主題",
|
| 134 |
+
"主題(第一層)": "建築",
|
| 135 |
+
"主題(第二層)": "欄杆",
|
| 136 |
+
"主題說明": ""
|
| 137 |
+
},
|
| 138 |
+
{
|
| 139 |
+
"主題類別": "其他主題",
|
| 140 |
+
"主題(第一層)": "器用",
|
| 141 |
+
"主題(第二層)": "文房用具",
|
| 142 |
+
"主題說明": ""
|
| 143 |
+
},
|
| 144 |
+
{
|
| 145 |
+
"主題類別": "其他主題",
|
| 146 |
+
"主題(第一層)": "器用",
|
| 147 |
+
"主題(第二層)": "文玩（琴棋書畫）",
|
| 148 |
+
"主題說明": "畫"
|
| 149 |
+
},
|
| 150 |
+
{
|
| 151 |
+
"主題類別": "其他主題",
|
| 152 |
+
"主題(第一層)": "器用",
|
| 153 |
+
"主題(第二層)": "花器",
|
| 154 |
+
"主題說明": ""
|
| 155 |
+
},
|
| 156 |
+
{
|
| 157 |
+
"主題類別": "其他主題",
|
| 158 |
+
"主題(第一層)": "器用",
|
| 159 |
+
"主題(第二層)": "傢俱（屏風）",
|
| 160 |
+
"主題說明": ""
|
| 161 |
+
},
|
| 162 |
+
{
|
| 163 |
+
"主題類別": "其他��題",
|
| 164 |
+
"主題(第一層)": "器用",
|
| 165 |
+
"主題(第二層)": "飲食器",
|
| 166 |
+
"主題說明": ""
|
| 167 |
+
},
|
| 168 |
+
{
|
| 169 |
+
"主題類別": "其他主題",
|
| 170 |
+
"主題(第一層)": "樹木",
|
| 171 |
+
"主題(第二層)": "竹",
|
| 172 |
+
"主題說明": ""
|
| 173 |
+
},
|
| 174 |
+
{
|
| 175 |
+
"主題類別": "其他主題",
|
| 176 |
+
"主題(第一層)": "樹木",
|
| 177 |
+
"主題(第二層)": "松",
|
| 178 |
+
"主題說明": ""
|
| 179 |
+
},
|
| 180 |
+
{
|
| 181 |
+
"主題類別": "其他主題",
|
| 182 |
+
"主題(第一層)": "樹木",
|
| 183 |
+
"主題(第二層)": "柏",
|
| 184 |
+
"主題說明": ""
|
| 185 |
+
}
|
| 186 |
+
],
|
| 187 |
+
"技法": [
|
| 188 |
+
{
|
| 189 |
+
"技法": "人物衣紋描法(勻稱線條)",
|
| 190 |
+
"技法細目": ""
|
| 191 |
+
},
|
| 192 |
+
{
|
| 193 |
+
"技法": "界畫",
|
| 194 |
+
"技法細目": ""
|
| 195 |
+
}
|
| 196 |
+
],
|
| 197 |
+
"參考資料": {
|
| 198 |
+
"內容簡介": "庭中松樹挺立，梅花盛開。屏風前三文士圍束腰長桌而坐，其中二文士坐於榻上，榻下壺門開光，一觀畫，一盥手回首；靠背扶手椅上文士手作研磨狀，似為點茶備茶。一文士園中踱步吟詩。\r\n張訓禮，南宋光宗朝（西元一一九O－一一九四年）人。畫雖舊名圍爐博古，然畫中構圖、母題與世傳十八學士圖相類。唐太宗收聘賢才，以杜如晦、房玄齡等十八人並為學士。命閻立本圖像，褚亮為贊，號十八學士。",
|
| 199 |
+
"Description": "Two trees stand tall in a courtyard with a plum tree in full bloom. In front of the screen are three scholar-gentlemen sitting around a waisted table, as two sit on a daybed with openings. One views a painting and the other washes his hands. The scholar sitting on an armchair with a backrest is grinding what appears to be tea. Another is in the garden walking and reciting poetry. Despite the traditional title, the composition and motifs here are similar to surviving works on the Eighteen Scholars. The T’ang emperor T’ai-tsung gathered 18 eminent scholars, including Tu Ju-huei and Fang Hsuan-ling, as Academicians. He ordered Yen Li-pen to paint their portraits and Chu Liang to compose eulogies, becoming the famous Eighteen Scholars.",
|
| 200 |
+
"參考書目": "林莉娜；〈關於明人十八學士圖之考析〉，《故宮文物月刊》，第356期（2012年11月份），頁72-87。",
|
| 201 |
+
"收藏著錄": [
|
| 202 |
+
"石渠寶笈續編（寧壽宮），第五冊，頁2718",
|
| 203 |
+
"故宮書畫錄（卷五），第三冊，頁84",
|
| 204 |
+
"故宮書畫圖錄，第二冊，頁101-102"
|
| 205 |
+
]
|
| 206 |
+
},
|
| 207 |
+
"保存維護": {
|
| 208 |
+
"說明": "本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理",
|
| 209 |
+
"相關連結": [
|
| 210 |
+
{
|
| 211 |
+
"文本": "抽盤點紀錄",
|
| 212 |
+
"onclick": "Invertory('故畫000095N000000000')"
|
| 213 |
+
},
|
| 214 |
+
{
|
| 215 |
+
"文本": "修護紀錄",
|
| 216 |
+
"onclick": "Repair('故畫000095N000000000')"
|
| 217 |
+
}
|
| 218 |
+
]
|
| 219 |
+
}
|
| 220 |
+
}
|