秣陵魏之璜。 鈐印：魏之璜印
(傅申引首)金陵魏之璜溪山舟行圖卷真跡，傅申鑑定並題
賞析
Once fully unrolled, Wei Zhihuang’s short but visually extremely rich scroll presents strange rock and mountain formations and inward-drawing caves that evoke fantasy worlds. This, however, is not apparent when the scroll is first opened on the right where it starts with a boatman navigating his barque around a river bend; on the bend’s other side, a scholar has left his garden. Standing in front of the wall enclosing his garden, he overlooks the river in the direction of a riverside pavilion. Only after this opening, the painting’s real subject becomes clear: travel through steeply rising, monumental mountains among which travellers appear minuscule. The travellers cross a dangerous gorge dissected by a raging waterfall before gaining access to less noisy and relaxing mountain estates and monasteries that invite for stopovers. The highly original and strange mountain forms we see in Travelling and Boating among Streams and Mountains have little to do with reality: Wei Zhihuang paints the travellers in his scroll purposefully so small as to monumentalise his otherworldly mountains and waterfalls. After this pictorial climax, the scroll ends less dramatically: also filled with travellers, these have embarked on a ship that a group of seven boaters tow with the help of ropes against the river’s current; the boat’s ultimate destination remains unclear and leads into obscuring mists.
Once fully unrolled, Wei Zhihuang’s short but visually extremely rich scroll presents strange rock and mountain formations and inward-drawing caves that evoke fantasy worlds. This, however, is not apparent when the scroll is first opened on the right where it starts with a boatman navigating his barque around a river bend; on the bend’s other side, a scholar has left his garden. Standing in front of the wall enclosing his garden, he overlooks the river in the direction of a riverside pavilion. Only after this opening, the painting’s real subject becomes clear: travel through steeply rising, monumental mountains among which travellers appear minuscule. The travellers cross a dangerous gorge dissected by a raging waterfall before gaining access to less noisy and relaxing mountain estates and monasteries that invite for stopovers. The highly original and strange mountain forms we see in Travelling and Boating among Streams and Mountains have little to do with reality: Wei Zhihuang paints the travellers in his scroll purposefully so small as to monumentalise his otherworldly mountains and waterfalls. After this pictorial climax, the scroll ends less dramatically: also filled with travellers, these have embarked on a ship that a group of seven boaters tow with the help of ropes against the river’s current; the boat’s ultimate destination remains unclear and leads into obscuring mists.
一旦完全展開，魏之璜的短小但視覺效果極其豐富的手卷就會呈現出奇特的岩石和山形以及內畫的洞穴，令人聯想到幻想的世界。然而，當畫卷第一次在右邊打開時，這一點並不明顯。《溪山舟行圖》開始時，一個船夫正駕駛著他的船在河彎處航行；在另一邊，一個文人離開了他的花園，站在花園的牆外，向河邊的亭子方向眺望著。只有在這個開場之後，《溪山舟行圖》的真正主題才變得清晰：穿越陡峭、巨大的山脈，旅行者在其中顯得微不足道。旅行者們穿過一個被洶湧的瀑布分割的危險峽谷，然後才能進入不那麼嘈雜和讓人輕鬆的山間莊園和寺院，並在那裡停留下來。我們在《溪山舟行圖》中看到的高度原始和奇特的山形，與現實沒有什麼關係。魏之璜在他的手卷中故意把旅行者畫得很小，以使他的異世界的山和瀑布具有紀念意義。在這種的高潮之後，《溪山舟行圖》的最後一部分結束得不那麼戲劇化：同樣是滿載著旅行者，他們登上了一艘船，七名船夫用繩索幫助他們在河水中拖行；船的最終目的地仍然不清楚，並被引入了模糊的迷霧中。
魏之璜的《溪山舟行圖卷》體現了十七世紀初中國藝術發展的一個重要動向。魏之璜是一位來自南京的貧困文人和職業畫家。他自豪地在他簡短的款識中提請人們注意他的家鄉，他在款識中使用了明朝南方首都的古稱「秣陵」，從而強調了南京的悠久歷史。在十六世紀的過程中，中國的文人階層對旅行和尋找「奇」的地方越來越感興趣。這一趨勢也對繪畫的發展產生了重大影響。一些重要的畫家和評論家，如董其昌（1555-1636）主張通過模仿元代（1279-1368）的古代大師來實現繪畫的復古，而活躍在南京的一些藝術家，如吳彬（約1590-1620），則對「探奇」和原始的風格（奇趣）更感興趣。魏之璜也屬於這些人。他是十七世紀初這種新的、令人耳目一新的繪畫風格的重要藝術家。他的《千岩競秀圖》長卷現由上海博物館收藏，在風格上與《溪山舟行圖》相近，因此加強了魏之璜作為南京重要的「奇」山水畫家的形象。
Henning von Mirbach, Research assistant, HCS Calligraphy Arts Foundation
米翰寧 何創時書法基金會 副研究員
Once fully unrolled, Wei Zhihuang’s short but visually extremely rich scroll presents strange rock and mountain formations and inward-drawing caves that evoke fantasy worlds. This, however, is not apparent when the scroll is first opened on the right where it starts with a boatman navigating his barque around a river bend; on the bend’s other side, a scholar has left his garden. Standing in front of the wall enclosing his garden, he overlooks the river in the direction of a riverside pavilion. Only after this opening, the painting’s real subject becomes clear: travel through steeply rising, monumental mountains among which travellers appear minuscule. The travellers cross a dangerous gorge dissected by a raging waterfall before gaining access to less noisy and relaxing mountain estates and monasteries that invite for stopovers. The highly original and strange mountain forms we see in Travelling and Boating among Streams and Mountains have little to do with reality: Wei Zhihuang paints the travellers in his scroll purposefully so small as to monumentalise his otherworldly mountains and waterfalls. After this pictorial climax, the scroll ends less dramatically: also filled with travellers, these have embarked on a ship that a group of seven boaters tow with the help of ropes against the river’s current; the boat’s ultimate destination remains unclear and leads into obscuring mists.
Once fully unrolled, Wei Zhihuang’s short but visually extremely rich scroll presents strange rock and mountain formations and inward-drawing caves that evoke fantasy worlds. This, however, is not apparent when the scroll is first opened on the right where it starts with a boatman navigating his barque around a river bend; on the bend’s other side, a scholar has left his garden. Standing in front of the wall enclosing his garden, he overlooks the river in the direction of a riverside pavilion. Only after this opening, the painting’s real subject becomes clear: travel through steeply rising, monumental mountains among which travellers appear minuscule. The travellers cross a dangerous gorge dissected by a raging waterfall before gaining access to less noisy and relaxing mountain estates and monasteries that invite for stopovers. The highly original and strange mountain forms we see in Travelling and Boating among Streams and Mountains have little to do with reality: Wei Zhihuang paints the travellers in his scroll purposefully so small as to monumentalise his otherworldly mountains and waterfalls. After this pictorial climax, the scroll ends less dramatically: also filled with travellers, these have embarked on a ship that a group of seven boaters tow with the help of ropes against the river’s current; the boat’s ultimate destination remains unclear and leads into obscuring mists.
一旦完全展開，魏之璜的短小但視覺效果極其豐富的手卷就會呈現出奇特的岩石和山形以及內畫的洞穴，令人聯想到幻想的世界。然而，當畫卷第一次在右邊打開時，這一點並不明顯。《溪山舟行圖》開始時，一個船夫正駕駛著他的船在河彎處航行；在另一邊，一個文人離開了他的花園，站在花園的牆外，向河邊的亭子方向眺望著。只有在這個開場之後，《溪山舟行圖》的真正主題才變得清晰：穿越陡峭、巨大的山脈，旅行者在其中顯得微不足道。旅行者們穿過一個被洶湧的瀑布分割的危險峽谷，然後才能進入不那麼嘈雜和讓人輕鬆的山間莊園和寺院，並在那裡停留下來。我們在《溪山舟行圖》中看到的高度原始和奇特的山形，與現實沒有什麼關係。魏之璜在他的手卷中故意把旅行者畫得很小，以使他的異世界的山和瀑布具有紀念意義。在這種的高潮之後，《溪山舟行圖》的最後一部分結束得不那麼戲劇化：同樣是滿載著旅行者，他們登上了一艘船，七名船夫用繩索幫助他們在河水中拖行；船的最終目的地仍然不清楚，並被引入了模糊的迷霧中。
魏之璜的《溪山舟行圖卷》體現了十七世紀初中國藝術發展的一個重要動向。魏之璜是一位來自南京的貧困文人和職業畫家。他自豪地在他簡短的款識中提請人們注意他的家鄉，他在款識中使用了明朝南方首都的古稱「秣陵」，從而強調了南京的悠久歷史。在十六世紀的過程中，中國的文人階層對旅行和尋找「奇」的地方越來越感興趣。這一趨勢也對繪畫的發展產生了重大影響。一些重要的畫家和評論家，如董其昌（1555-1636）主張通過模仿元代（1279-1368）的古代大師來實現繪畫的復古，而活躍在南京的一些藝術家，如吳彬（約1590-1620），則對「探奇」和原始的風格（奇趣）更感興趣。魏之璜也屬於這些人。他是十七世紀初這種新的、令人耳目一新的繪畫風格的重要藝術家。他的《千岩競秀圖》長卷現由上海博物館收藏，在風格上與《溪山舟行圖》相近，因此加強了魏之璜作為南京重要的「奇」山水畫家的形象。
Henning von Mirbach, Research assistant, HCS Calligraphy Arts Foundation
米翰寧 何創時書法基金會 副研究員
