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张庚

 张庚(1685—1760)原名焘,字溥三,后改名庚,字浦山、公之干,号瓜田逸史,又号弥伽居士、白苎村桑者,秀水(今浙江嘉兴)人。幼孤家贫,赖母以针线活抚养。雍正十三年(1735)应鸿博诏。长古文词,精鉴别,绘事则攻学山水,出入董源、巨然、黄公望。

  • 中文名张庚
  • 别名弥伽居士、白苎村桑者
  • 性别
  • 国籍清朝
  • 出生地秀水(今浙江嘉兴)
  • 出生日期1685年
  • 逝世日期1760年
  • 职业清朝画家
  • 主要成就精鉴别,绘事则攻学山水
  • 代表作品《仿董源山水图》《强恕斋集》、《浦山论画》、《国朝画征录》
  • 原名
  • 字号字溥三,后改名庚,字浦山、公之干,号瓜田逸史
传世作品

 所作笔意清洁雅秀,干湿互用,饶有韵致。《桐阴论画》评其:“秀润有余,苍浑不足。”但也有秀润中见劲健之作。亦善白描,工细人物,写花卉宗师陈淳。传世作品有乾隆十五年(1750)作《仿江贯道秋林叠嶂图》轴,图录于《中国名画宝鉴》;十九年作《竹林图》轴藏日本大阪市立美术馆;二十四年(1759)作《溪亭飞瀑图》轴现藏广东省博物馆。著有《强恕斋集》、《浦山论画》、《国朝画征录》等。

《仿董源山水图》扇页,清,张庚绘,纸本,墨笔,纵16cm,横46.5cm。

扇页有自题:“仿董北苑法拟澄之世兄清玩。弥伽居士庚。”下钤朱文印不识。

此图是作者送给友人澄之的一幅画作。扇面虽然不大,但是作者通过山峦、树木、房舍、河塘等景致的巧妙穿插,以及虚实对比、纵横交错等手法,扩展了远近空间,令扇面小中见大具有“咫尺千里”的博大气势。山石用湿笔,连皴带擦,树木多以卧笔点叶,灵动秀润。作者自言仿董北苑山水,但是其画风更接近元人黄公望古雅明洁的笔墨。

为人做跋

 曾为明董其昌画作《疏林远岫图》做跋:“文沈没浚画学艺华亭,振笔勤锄,早岁专事董与巨,文敏尝画,以董巨筑基,参以房山云气,殊暮年更精大痴法,益入神,妙元化俱。尔时共业有赵左流传之迹,半所临左也,形貌颇好,所惜气格甜以腴,何如文敏出隽爽珊珊玉立,清光敷,吾观是图又一变木石。己趂云林迂近,艺苑逸品,倪、黄合人事 ,才知此体自出 ,称宗称祖,宁为诬,蒋君爱画,入骨膏髓,宝之不异宝此躯。呜呼!公书此稀观,莫叹蒋君所好拘。 乾隆五年秋八月秀水张庚

人物评价

 习之既久,领略益深。浦山志于丹青,师古人而又师造化,遍游南北,探访名迹历十余年,艺术因之大进。寓于睢州蒋郎中泰家数年,明清鼎变,睢州袁可立大司马家道中落,藏品流入蒋氏,张庚受益颇多,所见明末著名画家袁枢“遗墨及所藏旧迹,皆精雅”。

English Introduction

 Zhang Geng (1685-1760), formerly known as Tao, Zipusan, later renamed Geng, Zipushan, Gongzhigan, known as the history of melon fields, also known as Mijia Jushi, Bairamie village mulberry, Xiushui (now Jiaxing, Zhejiang). Young and lonely families are poor, depending on their mothers to support them by needle and thread. Yongzheng 13 years (1735) Ying Hongbo imperial edict. Changgu Wenci, refined identification, painting is learning landscape, access to Dong Yuan, Juran, Huang Gongwang.

 

The brushwork is clean and elegant, interacting wet and dry, with charm. "Tongyin on Painting" commented on it: "There is more than elegant and gray, insufficient. But there are also some works with strong ideas and vigor in elegance and moistening. He is also good at describing in plain and fine print. He is also good at describing flower master Chen Chun. The works handed down from generation to generation include Qianlong's 15th year (1750) Axis of "Imitating River Running through Akiriya Forest and Overlapping Mountains", which is recorded in "Treasure Book of Chinese Famous Paintings"; Nineteen year's Axis of "Bamboo Forest Map" which is collected in Osaka Museum of Art; Twenty-four year's (1759) Axis of "River Pavilion and Falls Map" which is now stored in Guangdong Muse His works include Qiangshuzhai Collection, Pushan Painting Commentary and Collection of Paintings of the National Dynasty.

 

Fan Page, Qing Dynasty, Zhang Geng Painting, Paper, Ink, 16 cm in length and 46.5 cm in breadth.

 

The fan page has its own title: "Simulating Dong Beiyuan Fa's brother Qingyue. Micah Jugeng." Xiajun Zhu Wen Yin does not know.

 

This picture is a painting presented by the author to his friend Chengzhi. Although the fan surface is not big, the author expands the space far and near by skillfully interlacing the scenery of mountains, trees, houses and rivers, and by means of contrast between reality and fiction, crisscrossing and so on, which makes the fan surface small and medium, with the broad momentum of "close by thousands of miles". Hills and stones are wiped with wet pens, and trees are mostly dotted with lying pens and leaves, which are smart and graceful. The author claims to imitate Dong Beiyuan's landscape, but his style of painting is closer to that of Huang Gongwang, the Yuan Dynasty.

 

He wrote a postscript for Dong Qichang's painting Shulin Yuanxiu Tu in Ming Dynasty: "Wen Shen Xun's painting study Huating, Zhenbi diligent hoe, early specialist Dong and Ju, Wen Min tastes painting, builds foundation with Dong Ju, participates in Fangshan cloud atmosphere, becomes more elaborate in his old age, becomes more energetic and refined. At that time, there were traces of Zhao Zuo spreading in the joint industry. Half of them were facing the left, and their appearance was quite good. What a pity for their sweet temperament? How can Wen Min produce meaningful Shan Shan Yuli and clear light application? My view is that this is another change of wood and stone. It is only when you are close to the clouds and forests, and the Yipin of the art garden, Ni and Huang He are engaged in human affairs that you know that this body comes from and calls the ancestor the ancestor. It is better to call it false. Jiang Jun loves painting and enters the marrow of the bones. Bao's body is the same as Bao's. Alas! Public books are rare, so don't lament Jiang Jun's restraint. Qianlong Five-Year Autumn and August Xiushui Zhang Geng Title

 

Having studied for a long time, we have gained a deeper understanding. Pushan aspires to Danqing, learning from the ancients but also from the nature, traveling all over the north and south, visiting famous places for more than ten years, and making great progress in art. After years of residence in Jiang Lang's Zhongtai family in Suizhou, the Ming and Qing dynasties witnessed a dramatic change. Suizhou Yuan Keli's Dasima Family Road declined. Collections flowed into Jiang's family. Zhang Geng benefited a lot. He saw Yuan Shu, a famous painter in the late Ming Dynasty, who had "elegant ink remains and old ruins hidden".

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