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Landscape Painting Album (8 pages) by Great Yuan Dynasty Master Huang Kung-wang (1269-1354)
元代大畫家黃公望(1269-1354) 山水畫冊 (八頁)
Huang Kung-wang (1269-1354)
His style name was Tzu-chiu, and his sobriquets were I-feng and Ta-ch'ih tao-jen.
A native of Ch'ang-shu, Kiangsu. Originally he was called Lu Chien. Huang was raised in a poor family and was orphaned when he was a child. Later he was adopted by a 90-years-old rich man of Yung-chia called Huang Le. Huang Le was so happy to have a son that he changed the child’s name to Tzu-chiu, which means a long-time expecting son.
Huang Kung-wang was exceptionally gifted as a youth, mastering the Chinese classics at an early age. He also studied Taoism and later became a follower of the Ch'uan-chen sect. Traveling throughout the Sungkiang and Hangchow regions, he made a living by fortune-telling. Like his interest in calligraphy and music, painting was an activity practiced on the side. His landscape paintings are based on the styles of Tung Yuan and Chu-jan, 10th-century artists who depicted the soft rolling landscape of the south. Along with Wu Chen (1280-1354), Ni Tsan (1301-1374), and Wang Meng (1308-1385), Huang Kung-wang is considered one of the Four Great Masters of the Yuan and revered as their spiritual leader.
He was the oldest and the most prominent of the four great landscape artist of the Yuan dynasties and he probably exercised more influence than any other painter on the development of the so-called "School of Literary Painters" during the Ming and Qing dynasties. Generally speaking, the works of Huang Kung-wang may be divided into two stylistic types. In one type of picture, he used light purple colour, whereas the other type was executed in black ink only, the portrayal of the surfaces of rocks and trees being very much simpler in-structure and technique than the first type. He held an official position for a period and then left to become a Taoist priest. He spent the remainder of his life in the Fu-ch'un mountains near Hangchou.
Dwelling in the Fu-ch'un Mountains
Painted by Huang Kungwang during 1347-1350
Yuan Dynasty / handscroll / ink on paper, 33 x 639.9 cm
Please click here to see a Slide Show of the handscroll
This long handscroll by Huang Kungwang is among the most famous paintings in Chinese history, is considered an epitome of literati landscape painting, and had an enormous influence on later ages.
Depicted in this handscroll is an idealized panorama of the Fu-ch'un mountains, west of Hangchow, to which Huang returned in his later years. Beginning with a vast expanse of river scenery at the right, we move on to the mountains and hills, then back to areas of river and marsh that end with a conical peak. We finally come to the end of our wandering through the landscape as it ebbs out in the distant ink-wash hills over the water. The composition was first laid out in light ink and then finished with successive applications of darker and drier brushwork. Sometimes shapes were slightly altered, contours strengthened, and texture strokes or tree groups added here and there. Finally, brush dots were distributed across the work as abstracted accents. Buildings, tree limbs and foliage are reduced to the simplest of forms as Nature has been translated into the artist's terms of brush and ink.
In his inscription, Huang writes that he created the design in a single outburst of energy. He worked on the picture on and off when the mood struck him from about 1347 to 1350, when the major portions of this handscroll were completed. This representation of the Fu-ch'un mountains was painted for a fellow Taoist named Master Wu-yung and represents Huang's greatest surviving masterpiece.
黃公望（1269~1354）
字子久，號一峰，又號大癡道人、井西老人。浙江富陽人。
他生於南宋成淳五年（1269年），本姓陸，名堅，家住常熟子遊巷，由於幼年父母雙亡，家庭貧困，十歲左右的時候，就給寓居在虞山小山頭的浙江永嘉人黃樂為養子。據傳說，當時黃樂年已九十歲，看到他是一個聰明伶俐的孩子，喜出望外地說：“黃公望子久矣!”從此，陸堅便改姓換名為黃公望，字子久。後來又取了大癡道人、一峰道人、井西道人等別號，公望天資孤高，少有大志，十二三歲就參加了本縣的神童考試,後來又博覽群書，好學不倦，掌握了廣搏的學識和技藝。《錄鬼簿》作者鍾嗣成說他：“公之學問，不在人下，天下之事，無所不知，薄技小藝亦不棄”所以他後來不但成為山水畫藝術上的一代巨匠，在學術文章方面也有高深造詣。
黃公望出生之時，正值奸相賈似道專權，南宋政權已十分腐朽，北方的蒙古族建立的元朝日益強大，元人在擊滅金、西遼、西夏之後，就開始了對宋的征戰。黃公望十一歲時，宋王朝終於徹底覆滅了。青年時代的黃公望本來還希望在政治上一展身手，投身仕途幹一番大事業，但是當時的元朝統治者選拔官員並不採用科舉考試的辦法（至元仁宗治政時期，才始正式實行科舉。然每次錄取不過數十人,且其時黃公望已在獄中），而且規定漢人要做官，必須從當吏開始。吏是一般的辦事職員，到一定年限，視辦事能力如何，再決定可否做宮。黃公望大約在四十歲後，才得到浙西廉訪使徐琰的引薦，擔任浙西憲吏，管理田糧，旋任中台察使院椽吏。黃公望的上司張閭，是個有名的貪官，元仁宗曾派他經理江南田糧，張閭到江南後，“貪刻用事，富民黯吏，並緣為奸”，得民不聊生，盜賊四起，統治者不得不將他治罪，於延拈二年（1315年）九月逮捕入獄。為此黃公望也遭到連累，被逮入獄。但不久獲釋離京南返。此次遭遇險喪性命，黃公望心灰意懶，便絕了仕途之望，開始了隱士生活。他先在松江一帶賣蔔，後即回到了故鄉常熟，隱居在小山頭（今虞山西麓）。魚翼《海虞畫苑略》說他“嘗於月夜，棹孤舟，出西郭門，循山而行，山盡抵湖橋，以長繩系酒瓶於船尾，返舟行至齊女墓下，牽繩取瓶，繩斷，撫掌大笑，聲振山谷”。李日華《六硯齋筆記》中記：“……，黃子久終日只在荒山亂石叢木深筱中坐，意態忽忽，入莫測其所為。又居泖中通海處，看激流轟浪，風雨驟至，雖水怪悲詫，亦不顧”郟倫逵《虞山畫志》說他：“每月夜、攜瓶酒，坐湖橋，獨飲清吟。酒罷，投擲水中，橋下殆滿”。從這些記載中，可以看出，黃公望從那時候起，便將自己整身心融會在大自然中，開始了他的藝術生涯。他由同時代大畫家、好友王蒙的介紹，獲得了當時畫壇名宿趙孟的親自指導，這時候黃公望已經五十歲了。
正在這一時期，以漢族人民為主體的反抗蒙古統治者壓迫的民族鬥爭和階級鬥爭日益高漲。處在這個動亂時代的黃公望深深感到除了藝術生活之外，還需要一種可以寄託整個人生的精神生話。因此，就在他六十歲後，和大畫家倪瓚同時參加了新道教，受到道學精深的大師金月岩的指導。六十六歲時，並與張三豐、莫月、冷謙等道友交往，在蘇州天德橋開設三教堂傳道。對前來問難的各色人等，他對答如流。後來，黃公望又轉赴杭州，與陳存甫討論性命之理，並想在西湖筲箕泉住下，接著又到松江曹知自處。這一個時期，黃公望浪迹江湖，表示了他對元朝統治者的蔑視和不協作態度。他為倪瑣《六君子》題過一首詩，詩曰“遠望雲山隔秋水，近看古木擁陂，居然相對六君子，正直特立無偏頗”。這首七絕詩，寄寓著他的人生觀和時局的態度。他勉勵每一個知識份子，要和松、拍、楠、槐、榆等六種喬木如同“六君子”那樣正直地兀立。
至正七年（1347年），黃公望七十九歲，他從松江到富陽，偕無用師一起去富春山，領略江山鈎灘之勝，暇日于南樓作畫。至正十四年（1354年）十月二十五日，這位“其俠似燕趙劍客，其達似晉宋酒徒”的一代藝術巨匠，在常熟逝世，年八十六歲，葬在虞山西麓。
黃公望的山水畫，常寫虞山，富春江一帶的景色，他非常注重對自然景物的觀察、研究。他的畫，風格簡潔明朗，平淡自然；畫法上多用幹筆擦，重視用筆的變化；著色僅用淡赭，被稱為“淺絳山水”。後人評他的畫為“峰巒渾厚，草木華滋”；“逸致橫生，天機透露”。他一生畫了許多畫，流傳至今的有《富春山居圖》、《天池石壁圖》、《快雪時晴圖》、《富春大嶺圖》、《九峰雪霽圖》、《江山勝覽圖》、《秋山幽居圖》、《兩岩仙觀圖》等名作，或是蒼茫渾厚，或是荒率簡淡，都代表著元代山水畫成熟時期的新面貌。其中《富春山居圖》具有代表性，故尤為人們稱道。
《富春山居圖》
卷•紙本•水墨畫，33 x 639.9 cm
現分別收藏於故宮博物館•臺北以及中國浙江博物館
《富春山居圖》為一幅紙本長卷，是至正七年黃公望為好友無用禪師所作。據記載，這幅畫畫了好多年才完成。在這畫卷的卷末自題中說：“閱三四載未得備”，清初畫家原祁在《麓台題畫稿》中說黃公望是經營七年而成。還說“想其吮毫揮筆處時，神與心會，心與氣合，行乎不得不行，止乎不得不止，絕無求工求奇之意，用工處，斐然於筆墨之外，幾百年來，神彩煥然。”
《富春山居圖》表現了秋初之時富春江兩岸的景色。畫中的峰巒曠野，叢林村舍、漁舟小橋，或雄渾蒼茫，或推潔飄逸，都生動不斷地展示了江南翠微杳靄的優美風光，可謂“景隨人遷，人隨景移”，達到了步步可觀的藝術效果。《富春山居圖》用筆利落，雖出於董源、巨然一派，但比之董、巨更簡約，更少概念化，因而也就更詳盡地表現了山水樹石的靈氣和神韻。筆法既有濕筆披麻，另施長短幹筆擦，在坡峰之間還用了近似米點的筆法，濃淡迷朦的橫點，逞足筆力，唯情是求。黃公望極注意層次感，前山後山的關係，改變了傳統屏風似的排列，而是由近而遠地自然消失。他並不誇張虛境和實境的對比，而是在虛實之間用微妙的過渡層次加以渲染。畫中的樹木儘管未作細緻的刻畫，但不同樹木的質感。
和空間對比都表現得極為充分，連作為點綴的草亭人物，也都描繪得生動嚴謹，比例合度。畫面僅用水墨渲染，但深淺濃淡不用的水墨在宣紙上轉化為無窮的“色彩， 使畫面空白具有真實的空間感，給人以揮灑奔放，一氣呵成的深刻印象。若明若暗的墨色，經過這位大師的巧妙處理，超越了隨類賦彩的傳統觀念，自然地籠罩在景物之上，化為一種明媚的氛圍，令人產生親切之感，充分反映了黃公望對客觀外界和主觀感受的高度尊重。清初畫家惲壽平在讚賞此圖時說：“凡數十峰，一峰一狀，數百樹一樹一態，雄秀蒼茫，變化極矣。”這幅作品在元代文人畫中確是一幅從真山真水中提煉概括出來的傑作。
歷代文人都珍視這幅畫。據記載，此圖在明清兩代，曾為許多人收藏。明代成化年間為蘇州著名畫家沈周收藏，萬曆年間轉歸松江董其昌名下，後又為宜興吳正志所有。吳正志傳給他的兒子吳洪裕，洪裕愛若至寶，寢食與共，臨死前竟將此圖投入火中，“殉以為葬”幸而他的子侄吳靜庵從爐火中搶救出來，但前面已經燒去了一些。吳家把第一節燒剩的部分裁割下來，從此，這一圖卷就分成了長短兩段。長的一段歷經流傳，至乾隆時，收入皇家“內府”。先是宮內曾有一卷《富春山居圖》副本，乾隆為之題詠再三，以為真迹。火焚本進宮後，被定為“膺鼎”，載入《石渠寶笈三編》。後歸故宮博物院，解放前被國民黨運往臺灣。短的一段即被名為《剩山圖》的長期以來湮沒無聞。四十年前為吳湖帆先生所得。1956年10月間，上海國畫院舉辦宋、元、明、清名畫展時，才和廣大群衆見西。我們現在常看到的《富春山居圖》，就是這短的一段《剩山圖》，今藏浙江博物館，雖非原圖全壁，然其一丘一壑之景“儼然富春山在望”，畫面峰巒起伏，林木蔥籠，筆法純熟，意境深邃，左端還留有火燒的痕迹。據專家鑒定，確認此圖即《富春山居圖》的前段無疑。這一歷經磨難的藝術珍品，雖經分割，遙存兩地，所幸者主體猶在。我們期待隨著將來，黃公望的《富春山居圖》將以完整的面目， 重新呈現在世人的面前。