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清／玉羅漢山子
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畢泠 江山如畫
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| 發帖人 主題標題： | 清／玉羅漢山子 回覆數: 0 點數: 576 | 第 1 樓 |
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時間：2005-05-08 10:51
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清／玉羅漢山子 摘自 天下文壇 畢泠 2005-05-08 10:51 http://yuhsia.com/ccb/index.pl ..... 歡迎貼文分享，交流您的心得或收藏， ..... 您也可以用新詩、古韻、散文.... 談談您的觀感.... 清／玉羅漢山子 Arhat Under a Tree (1644~1911) [img]http://www.npm.gov.tw/en/4_pic/010108/p10c.jpg[/img] 清／玉羅漢山子 Ch'ing Dynasty (1644~1911) 長22.0公分／高18.3公分 清代蘇州、揚州等商業大城中的達官貴人，喜好收購玉器。究其緣由，固然有個 人喜好或附庸風雅的因素存在，但也常常是為了要入貢，以討好愛玉的皇帝。因 此，雖然「新樣」玉器的盛行，是受到蘇、揚玉市的導向，但是乾隆皇帝表露排 斥的態度後，當地玉工還是會受到影響而改弦更張。由乾隆晚期的御製詩可知， 當時民間玉作坊的「新樣」減少了，取而代之的是「玉圖」的盛行。姑且不論 「新樣」風潮是否真的消褪，但從清高宗評論玉圖「有雅趣可玩」看來，他頗能 接受這個新的轉變。 所謂「玉圖」，從字面上就可以了解它和繪畫有所關聯。這類玉器大多是插屏、 筆筒或山子的形式，通常選擇山水名勝或文人掌故為主題，呈現一種較為清靜雅 致的韻味。由於「玉圖」獲得皇帝的認同，以致幾件大形玉山子製作時，皆有宮 廷畫家特別參與繪製藍圖。玉在當時成為一種統合性的藝術媒介。 本件作品為青色閃玉質。形如山壁洞窟，洞口邊立一老樹，十六羅漢中的租查巴 納塔嘎尊者倚樹而坐，壽眉，長耳，食、中二指併出，面露微笑，似有所悟，形 貌生動。山子的佈局和岩面上所刻清高宗御製文〈收錄於﹝清高宗御製詩文全 集﹞文初集二九卷二頁〉，皆與浙江「聖因寺」所藏，傳為貫休所繪之羅漢畫軸 相同。這件玉山子是研究清中期玉器與繪畫關係，極具意義的一件作品。 撰稿／張麗端 ............................................................................................................... Boulder with Arhat Under a Tree Ch'ing Dynasty (1644-1911) Jade; length, 22.0 cm; height, 18.3 cm In the Ch'ing dynasty, the high-ranking officials and gentry of Soochow, Yangchow and other commercial centers had a strong penchant for jade. Personal taste and artistic pretension no doubt contributed to this phenomenon. Yet it also reflected the prevailing custom of presenting jade as imperial tribute to curry favor at court. The popularity of the "new style" jades, as they were known, was dictated by the jade markets in Soochow and Yangchow. The style was later rejected by the Ch'ien-lung Emperor (r. 1736-1795), forcing the jade lapidaries of these regions to develop in new directions. Imperial verse of the late Ch'ien-lung period speaks of the declining numbe r of non-official jade workshops producing "new style" works, and the growing prevalence of "jade pictures." Whether or not the "new style" truly fell out of fashion at this time remains an open question. However, this new development is lent credence by a comment of the Ch'ien-lung Emperor, who said that "jade pictures had an enjoyable refinement." As their name suggests, "jade pictures" were related to the tradition of painting. Most jades of this type were carved into the shapes of table screens, brush holders, and miniature mountains. They commonly adopted such themes as a scenic landscape or men of letters, exhibiting a quiet and refined charm. Since "jade pictures" had won imperial favor, court painters drafted the designs for several of the large jade miniature mountains, leading to the integration of jade and pictorial arts during this period. This piece is carved from green nephrite into the likeness of a mountain cave with an old tree at its side. One of the 16 arhats, venerated disciples of the Buddha, sits here leaning against a tree. He is vividly depicted with hoary eyebrows and drooping ears. His index and middle fingers are extended and he has a knowing smile on his face. The arrangement of the miniature mountain and the accompanying text by the Ch'ien-lung Emperor, are both identical to Arhat Scroll by the 10th century monk-artist Kuan-hsiu and preserved at Sheng-yin Temple in Chekiang. This piece is an invaluable work for the study of the relation between the arts of working in jade and painting during the middle Ch'ing dynasty. * 以上，轉載自故宮博物院典藏說明，英文部分重新段落編輯。 天下文壇 天下文壇 畢泠 2005-05-08 10:51 http://yuhsia.com/ccb/index.pl |
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