Description 松石圖 Pine and Rock
釋文:鶴訝堯時雪,僧知漢代秋。
款識:惕之先生正,心畬。
鈐印:溥儒(白文)
Signed Hsin-Yu in Chinese
With one seal of the artist
溥心畬,光緒帝賜名儒,號西山逸士、松巢,溥儒隱逸西山十載,是其藝術生涯的重要時光,知名藝術傳記作家王家誠(1932-2012)於著作《溥心畬傳》中,敘述了溥儒隱居於北京西山戒壇寺之時,曾戮力習畫寫松的情景,為了追求松樹屈曲偃蹇的姿態,溥儒揣摩臨遍歷代的古畫名蹟,後再重新對松寫生。溥儒一生畫松、詠松不綴,他承接了傳統對於松樹的文化概念,並將其內化納入自我的生命歷程:龍為帝王皇室的象徵,溥儒在創作中以松喻龍,代表他作為皇族後裔的文人象徵,既隱逸又高貴。溥儒經歷清朝覆滅的家國巨變、滄海桑田的際遇,更讓他將「松」轉變為懷故緬舊的寄託,此後「松」的意象轉變為生命與時間的對比,人生之短暫與松齡的恆常對照,更突顯對歲月無情的慨歎。
溥儒早年習武,且專臨唐碑,特別注重腕力的鍛鍊,此作《松石圖》的線條特別靈動勁健,以「四王」粗筆水墨的風格著力,樹體自畫幅右下拔地出幹,以雙勾篆籀之筆寫樹體,溥儒曾言「畫枝幹之法,處處轉折,頓挫而下,或用逆鋒以蹙其節」,以小斧劈皴出遒勁清爽的松身,直取李成筆法,簡括粗曠,雄渾中帶有疏朗的氣韻;畫幅上方松枝回還往復,如盤龍游移之姿,落筆均勻少頓挫,畫松枝「鹿角」、「蟹爪」並用,渴焦兼施;而畫松葉則以搶快藏鋒,環枝四面呈圓形團簇,畫松針則以微曲襯出勁挺,遵古之餘更增添溥儒文人畫脈的娟秀清氣與空靈品格。溥儒畫石法用石濤野逸奔放的筆意,描形頓挫有力,一氣呵成,自下而上收束挺健,用楷筆的方折勾勒出結構遒勁的線條輪廓,全畫觀之頗有莊嚴磅礡的皇家氣勢。題款予惕之先生,曾任上海警察局副局長,日本大使館參事,溥儒題詩寓「鶴訝堯時、僧知漢秋」,乃慨歎世事滄桑,松石藏於林壑岡巒之中,不僅寄托了溥儒高隱避世的心境,更是他作品中特有的經典文化符號。
Pu Hsin-Yu, given name Ru by the Emperor Guangxu, was also known as Hermit of the West Mountain and Songchao (Residing by the Pine). He resided in Xishan for a decade and this period was an important milestone of his career. Author Wang Jiacheng (1932-2012) wrote in the Biography of Pu Hsin-Yu, that during his secluded stay at the Jietai Temple of Xishan, Beijing, the artist focused on the depiction of pine trees and their crooked forms. With reference to ancient paintings, the trees were reinterpreted and depicted in life drawing. Pine had always been Pu's favourite subjects in literature and paintings, integrating cultural representations to his life. While a dragon represents royalty, Pu used pine to represent dragons and his ancestors of the lost empire. Pu went through numerous misfortunes when he lost his family and an empire. The depiction of pine is a reminiscence of the past. The evergreen tree also juxtaposes the short-lived life of beings with time, highlighting the evanescence of life.
In his early education, Pu had martial training and copied rubbings of Tang dynasty. Both required intensive practice of the wrist. This work focuses on the fluidity of lines. Strong lines of the Four Wangs outlined the rising trunk and zhuan strokes were used to depict its texture. Pu once mentioned, "crooked branches were depicted with slanted and thrusted strokes". Axe cun was used to depict the texture of pine, following Li Cheng's method, depicting the rough bark. Branches meander as a dragon, imitating the shape of a deer horn or crab claw. Leaves were painted with quick vertical strokes, clustered in groups. Pointed leaves are slightly curved to echo with ancient depiction and Pu's scholarly background. The rock was depicted with Shi Tao's carefree brushwork and outlined with regular script. The overall work carries the solemness of royalty. The painting was given to Tizhi, who was the vice president of the Shanghai police office, embassy counselor in Japan. A poem was written on the work revealing the mind of a hermit, sighing over worldly affairs.
Dimensions 95 x 33.5 cm
Artist or Maker PU HSIN-YU (Taiwanese, 1896-1963)
Medium 水墨 紙本 立軸 Ink on paper, scroll