《洞庭(ting)東山圖》是元代畫家趙孟頫創作的(de)一幅絹本設色畫,現(xian)藏(zang)于(yu)上海博物館。
圖繪太湖邊洞(dong)庭(ting)東(dong)山的(de)秀美之景。東(dong)山圓渾清幽(you),湖面微波粼粼,輕舟蕩漾,遠景峰巒迷(mi)蒙,近處(chu)小(xiao)丘(qiu)雜(za)樹,淡(dan)冶怡(yi)和(he)(he),顧盼(pan)生情。可以(yi)看出筆墨技法是從(cong)董源的(de)規(gui)范中變化而來的(de),柔和(he)(he)的(de)披(pi)麻皴和(he)(he)充滿節奏的(de)點苔,表(biao)現出江南(nan)草木華滋的(de)土山形貌(mao);湖水則(ze)以(yi)細勁與(yu)含蓄的(de)線條寫成,與(yu)東(dong)山連成一片;設色采(cai)用明(ming)潔清雅的(de)淺絳法。
此(ci)畫描(miao)(miao)寫洞(dong)(dong)庭東(dong)(dong)(dong)山(shan)(shan)(shan)(shan)的(de)景(jing)色。洞(dong)(dong)庭山(shan)(shan)(shan)(shan)位(wei)(wei)于(yu)江蘇吳縣西(xi)南(nan)太(tai)(tai)湖(hu)(hu)中(zhong)(zhong),分東(dong)(dong)(dong)、西(xi)兩山(shan)(shan)(shan)(shan)。東(dong)(dong)(dong)山(shan)(shan)(shan)(shan)古名(ming)為(wei)胥母山(shan)(shan)(shan)(shan),又(you)名(ming)莫鰲山(shan)(shan)(shan)(shan),為(wei)伸(shen)出(chu)(chu)(chu)太(tai)(tai)湖(hu)(hu)之半(ban)島。圖(tu)描(miao)(miao)繪遠(yuan)處的(de)東(dong)(dong)(dong)山(shan)(shan)(shan)(shan),峰巒(luan)疊嶂,但山(shan)(shan)(shan)(shan)勢不高,較(jiao)為(wei)圓渾平緩(huan)。山(shan)(shan)(shan)(shan)間樹木(mu)叢生,枝葉茂盛,一片(pian)郁郁蔥蔥的(de)江南(nan)景(jing)色。山(shan)(shan)(shan)(shan)徑蜿蜒(yan)曲折向上(shang)(shang)(shang),山(shan)(shan)(shan)(shan)腳下臨水(shui)邊的(de)平坡上(shang)(shang)(shang),佇立著(zhu)一位(wei)(wei)長者,正在(zai)凝神地(di)觀賞太(tai)(tai)湖(hu)(hu)一帶的(de)湖(hu)(hu)光山(shan)(shan)(shan)(shan)色,顯得(de)十分悠閑(xian)自在(zai)。山(shan)(shan)(shan)(shan)后煙霧迷漾,茫茫一片(pian),遠(yuan)處的(de)崗(gang)巒(luan)隱隱約約,或現或隱。寬闊湖(hu)(hu)面占(zhan)據了(le)畫面較(jiao)大部分,湖(hu)(hu)水(shui)清澈(che),湖(hu)(hu)面微波粼粼,數只(zhi)扁(bian)舟在(zai)湖(hu)(hu)水(shui)中(zhong)(zhong)穿梭不絕;近(jin)處為(wei)露出(chu)(chu)(chu)水(shui)面的(de)小(xiao)丘,在(zai)沿湖(hu)(hu)的(de)坡岸上(shang)(shang)(shang)雜樹叢生,樹木(mu)的(de)倒影映入(ru)湖(hu)(hu)面。這些樹木(mu),既不多又(you)較(jiao)低矮,其作者意圖(tu)為(wei)使洞(dong)(dong)庭的(de)湖(hu)(hu)光山(shan)(shan)(shan)(shan)色能夠(gou)充分地(di)呈現出(chu)(chu)(chu)來。
《洞庭東山圖》圖上方有(you)趙(zhao)孟頫(fu)題(ti)詞一首:“洞庭波(bo)兮(xi)(xi)山蜓橐,川可濟兮(xi)(xi)不可以涉。木蘭為舟兮(xi)(xi)桂(gui)為楫,渺余懷兮(xi)(xi)風一葉。子昂。”鈐(qian)“趙(zhao)氏子昂”朱文方印。
趙題左方為乾隆(long)帝題詩:“三湘(xiang)七澤(ze)杏難(nan)分,恍見微(wei)風落葉(xie)紛。誰(shui)識王孫多意緒,月(yue)明(ming)波(bo)冷吊湘(xiang)君(jun)。”鈐“乾隆(long)鑒賞(shang)”白文(wen)圓印(yin),“幾暇臨池(chi)”白文(wen)方印(yin)。
圖右下鈐(qian)清安岐收藏印:“安氏(shi)儀周書畫之印”白文(wen)長方(fang)印。
裱邊左側董(dong)其(qi)昌(chang)題(ti)跋(ba):“畫洞庭不當繁于樹木,乃(nai)以老木緣岸,楂檗數(shu)株,居然搖落(luo)湖天,寥闊之勢從(cong)此畫出。是子昂章(zhang)法迥(jiong)絕宋元處,是構凌云臺手(shou)。董(dong)其(qi)昌(chang)。”
裱邊右側乾隆(long)帝又題:“洞(dong)庭始(shi)波,木(mu)葉(xie)微脫,為(wei)千古(gu)寫景妙(miao)語。子昂胸吞云夢,著墨(mo)無多,而湖(hu)光渺彌,傳神在氣韻間,直駐最然度營邱前矣。御識。”
《洞(dong)庭(ting)東山(shan)圖(tu)(tu)(tu)》中的(de)(de)(de)山(shan)巒坡石形態平(ping)緩,用綿長柔和(he)的(de)(de)(de)披麻(ma)皴勾(gou)皴,山(shan)頭(tou)、石隙、坡腳布以疏密(mi)苔點,水面細(xi)勾(gou)網紋水波,這些都取法于(yu)董(dong)(dong)巨,筆(bi)墨(mo)(mo)深得董(dong)(dong)巨婉和(he)明(ming)潤的(de)(de)(de)要諦,然(ran)筆(bi)法較(jiao)董(dong)(dong)源為之疏簡(jian),墨(mo)(mo)色較(jiao)為干淡,在(zai)(zai)(zai)意境的(de)(de)(de)構造上,將董(dong)(dong)巨的(de)(de)(de)蒼(cang)郁滋潤轉為蒼(cang)茫蕭散;在(zai)(zai)(zai)山(shan)巒微染(ran)石綠和(he)赭石,顯然(ran)非仿(fang)董(dong)(dong)源的(de)(de)(de)水墨(mo)(mo)畫(hua)法,而(er)是董(dong)(dong)的(de)(de)(de)青綠山(shan)水法,與他42歲時(shi)(shi)所畫(hua)《鵲(que)華秋(qiu)色圖(tu)(tu)(tu)》的(de)(de)(de)筆(bi)墨(mo)(mo)技法同(tong)一(yi)淵源。趙(zhao)(zhao)孟頫在(zai)(zai)(zai)43歲時(shi)(shi)曾(ceng)畫(hua)過一(yi)幅(fu)《青綠山(shan)水大軸》,與《洞(dong)庭(ting)東山(shan)圖(tu)(tu)(tu)》是同(tong)一(yi)格調。而(er)到48歲創(chuang)(chuang)作(zuo)(zuo)《水村圖(tu)(tu)(tu)》時(shi)(shi),已(yi)是仿(fang)董(dong)(dong)源的(de)(de)(de)水墨(mo)(mo)法,且筆(bi)法趨于(yu)簡(jian)潔疏放。可(ke)見趙(zhao)(zhao)孟頫在(zai)(zai)(zai)42歲至(zhi)47歲休(xiu)病家鄉湖州期間(jian),于(yu)董(dong)(dong)源的(de)(de)(de)山(shan)水潛心研(yan)習,先后創(chuang)(chuang)作(zuo)(zuo)了多幅(fu)仿(fang)董(dong)(dong)巨的(de)(de)(de)作(zuo)(zuo)品。《洞(dong)庭(ting)東山(shan)圖(tu)(tu)(tu)》的(de)(de)(de)筆(bi)墨(mo)(mo)較(jiao)《鵲(que)華秋(qiu)色圖(tu)(tu)(tu)》為簡(jian),較(jiao)《水村圖(tu)(tu)(tu)》為繁,推斷(duan)其創(chuang)(chuang)作(zuo)(zuo)時(shi)(shi)間(jian)可(ke)能在(zai)(zai)(zai)兩(liang)圖(tu)(tu)(tu)之間(jian),即42歲至(zhi)47歲這一(yi)時(shi)(shi)期。
《洞(dong)(dong)庭(ting)東山圖》是趙孟頫所畫的洞(dong)(dong)庭(ting)東、西山對(dui)軸里的一幅,《洞(dong)(dong)庭(ting)西山圖》不明下落。
此圖(tu)的(de)(de)布景(jing)(jing)(jing)以高峻(jun)的(de)(de)東山(shan)為主體,山(shan)上林(lin)木疏落,遠(yuan)山(shan)隱(yin)現(xian)。近處平坡(po)雜樹(shu),中(zhong)間湖(hu)(hu)面(mian)(mian)遼闊,湖(hu)(hu)左(zuo)一(yi)(yi)士人撐一(yi)(yi)葉小舟(zhou)蕩漾。此圖(tu)的(de)(de)構(gou)圖(tu)既非(fei)(fei)重(zhong)嶺疊嶂水(shui)深林(lin)密的(de)(de)北宋宏偉(wei)山(shan)水(shui)圖(tu)式,也非(fei)(fei)南宋近實(shi)遠(yuan)虛的(de)(de)邊角之(zhi)景(jing)(jing)(jing),而(er)是吸收了董源的(de)(de)平遠(yuan)布景(jing)(jing)(jing)法而(er)加以改造,即減弱(ruo)了山(shan)巒的(de)(de)層疊之(zhi)勢(shi),加寬水(shui)面(mian)(mian),形成一(yi)(yi)水(shui)兩岸的(de)(de)結構(gou)。這種(zhong)構(gou)圖(tu)純然(ran)與他長期觀察(cha)太湖(hu)(hu)景(jing)(jing)(jing)色(se)的(de)(de)真切感受有關(guan),是從(cong)實(shi)景(jing)(jing)(jing)中(zhong)提煉出(chu)(chu)來的(de)(de)一(yi)(yi)種(zhong)境界,表現(xian)出(chu)(chu)洞庭東山(shan)既雄偉(wei)又寥廓的(de)(de)意境。
從此畫構圖來(lai)看(kan),作(zuo)者的意圖是想寫它的真實(shi)景象(xiang),把山巒的山峰(feng)安置在山的北部(bu),這與其該地的地理(li)位置完全(quan)相吻合。
東山(shan)圖之(zhi)山(shan)石(shi)(shi)木葉(xie),苔點均(jun)師(shi)董(dong)(dong)(dong)源皴(cun)法,以董(dong)(dong)(dong)源披(pi)麻(ma)皴(cun)為(wei)主,兼用(yong)解索(suo),即山(shan)石(shi)(shi)皴(cun)法,楂櫧的根枝(zhi)葉(xie)點,都是董(dong)(dong)(dong)源家法。如(ru)山(shan)石(shi)(shi)勾勒(le)用(yong)披(pi)麻(ma)、解索(suo)淡(dan)皴(cun),點以濃苔,再設以青綠淡(dan)赭顏色,這都從董(dong)(dong)(dong)源的規范中(zhong)變化而來的。山(shan)石(shi)(shi)渲染較多(duo),明(ming)暗向背明(ming)顯,則(ze)本(ben)于巨然。水中(zhong)波紋用(yong)細筆(bi)素描鱗狀浪紋。
中(zhong)國歷史博物館研究員鄭(zheng)恩淮:此畫(hua)用墨(mo)不(bu)(bu)多,用樸質的(de)(de)線(xian)條作(zuo)皴,每筆(bi)線(xian)條并不(bu)(bu)長,多用渾(hun)點與不(bu)(bu)少似經(jing)意又不(bu)(bu)經(jing)意的(de)(de)小點子,參雜干筆(bi)、破筆(bi)。畫(hua)山(shan)、畫(hua)坡岸山(shan)石(shi),都(dou)不(bu)(bu)作(zuo)奇峭之筆(bi),畫(hua)中(zhong)景物的(de)(de)高低暈(yun)淡深淺,蒼蒼茫(mang)茫(mang),渾(hun)厚華滋,都(dou)極其自然,充分(fen)表現出江南潤濕(shi)的(de)(de)氣象(xiang)和山(shan)光(guang)水色的(de)(de)情趣。
趙(zhao)孟(meng)頫洞(dong)庭(ting)東山(shan)(shan)、西(xi)山(shan)(shan)二(er)圖(tu)(tu),在(zai)(zai)元(yuan)代和明(ming)前(qian)(qian)期的流傳(chuan)情況不甚明(ming)了(le),但至明(ming)后期已歸入董(dong)其昌的藏篋中,董(dong)在(zai)(zai)《洞(dong)庭(ting)東山(shan)(shan)圖(tu)(tu)》的裱邊寫下了(le)題(ti)(ti)跋,《洞(dong)庭(ting)西(xi)山(shan)(shan)圖(tu)(tu)》上有無(wu)董(dong)的題(ti)(ti)跋,因原作無(wu)存,已不得而知(zhi),此二(er)圖(tu)(tu)并(bing)記入他(ta)《畫(hua)(hua)禪室隨筆》中。二(er)圖(tu)(tu)后來(lai)又(you)流傳(chuan)到王(wang)時敏(min)(min)的手里,王(wang)時敏(min)(min)在(zai)(zai)一(yi)部《仿古山(shan)(shan)水冊(ce)》中所畫(hua)(hua)“臨(lin)洞(dong)庭(ting)東山(shan)(shan)圖(tu)(tu)”的對(dui)題(ti)(ti)中寫道:“余(yu)舊(jiu)藏唐宋元(yuan)名(ming)畫(hua)(hua)巨冊(ce),中有趙(zhao)文敏(min)(min)東西(xi)洞(dong)庭(ting)圖(tu)(tu),故佳(jia)。數年前(qian)(qian)為好事者易(yi)去,不可復見,時時往來(lai)于懷,茲背(bei)臨(lin)二(er)幀(zhen),筆墨氣韻未能(neng)彷佛萬一(yi),略存其大意(yi)而已。”王(wang)時敏(min)(min)得此二(er)圖(tu)(tu),后又(you)失(shi)去。
據《洞(dong)庭東山圖》上所(suo)鈐“安氏儀周(zhou)圖書之印(yin)”,知后(hou)(hou)為安岐所(suo)藏,并著(zhu)錄于(yu)《墨緣匯觀》名畫(hua)下卷(juan)《唐(tang)宋元(yuan)寶繪高橫冊》。《洞(dong)庭東山圖》后(hou)(hou)來進入了清內府(fu),現存圖上有乾隆題詩(shi),即是證明,然而(er)未(wei)曾著(zhu)錄于(yu)《石渠寶笈》。
趙孟頫(1254—1322年(nian)),元代(dai)畫家、書(shu)法(fa)家,字子昂(ang),號松雪、水精宮道人,吳(wu)興(今浙江省湖州市)人。宋宗(zong)(zong)室(shi),14歲時以父蔭補真州司戶參軍,入元出仕,曾任翰林侍讀(du)學士、榮祿大(da)夫等職,卒(zu)贈魏國(guo)公,謚文(wen)敏。他(ta)對詩文(wen)音律無(wu)所不通,書(shu)畫造詣(yi)精深,乃元代(dai)的畫壇(tan)領袖(xiu)。其繪畫取材廣泛,技法(fa)全面,山水、人物、花鳥無(wu)不擅長(chang)。他(ta)倡(chang)導(dao)復古,強調(diao)“書(shu)畫同源”,主張(zhang)師法(fa)自然(ran)。書(shu)法(fa)鐘繇、二王、李邕、宋高(gao)宗(zong)(zong)趙構(gou)以及歷代(dai)諸家,篆、隸、真、草(cao)各臻(zhen)神妙。