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画家黄卷,其人其画,历代文献著录甚少,故鲜为人知。据彭蕴璨《画史汇传》卷三十,列为明代画家。《图绘宝鉴》卷二称:“黄卷字圣谟,莆田人,善山水美人。”故宫博物院所藏其仕女扇面,系清顺治十二年(1655)所作,据郭味蕖先生考证是黄卷(开益)的作品。我院所藏这幅《柳下美人图》黄卷落款下钤有“黄卷”、“开益”二方阴文印章。此画于昭和三年(1928)曾在日本东京府美术馆展出,次年五月由大塚巧艺术社出版的《唐宋元明名画大观》(四开珂罗版)予以刊载。昭和十一年(1936)由原田谨次郎编辑的《支那名画宝鉴》再次收录,均列为明代绘画。综上所述,黄卷是明宋清初画家无疑。只是确切的生卒年月难以详考。黄卷的传世作品虽少,但据我所见的两幅画来看,他确是一位颇具实力的画家。我院所藏这件《柳下美人图》(纵545毫米,横321毫米)咫尺画幅,却给人一种开阔、明朗、逸情、舒畅的感觉。画面的主要位置描绘主仆仕女二人,主卧仆侍立,一静一动相映成趣,主
Painter Huang Juan, his paintings, the history of the literature is poorly documented, so little known. According to Peng Yun-can painting history Hui Hui volume thirty, as the Ming Dynasty painter. Volume II of the “Treasure Map Paintings” said: “Huang Juan word San mo, Putian people, good Shan Shui beauty.” National Palace Museum hidden in his official fan sector, Department of Qing Shunzhi twelve years (1655) made, Volume (benefit) works. Our hospital possession of this piece of “Willow under the beauty map” Huang Juanjianjian under the “Huang Juan”, “benefit” the two Yinwen seal. This painting was exhibited at the Tokyo Museum of Art in Japan for three years (1928), and was published in Grand Fantasia of the Tang, Song, Yuan, and Ming Dynasties (published by Sikai Keluo), published by The Art Institute of Otsuka in May of the following year. Showa Eleven years (1936) edited by Harada Kanjiro “Chinoa Paintings” again included, are listed as the Ming Dynasty paintings. In summary, the yellow volume is undoubtedly the artist of the Ming and Qing Dynasties. Just the exact date of birth and death difficult to elaborate. Huang Juan handed down the works of few, but I see the two paintings, he is indeed a very powerful painter. Our hospital possession of this “Willow Under the Beauty map” (vertical 545 mm, horizontal 321 mm) within easy reach, but gives a kind of open, clear, happy, comfortable feeling. The main location of the picture depicts the main servant and lady, the master servants stand, a static action phase, the main attraction