仇英唯一存世大尺幅全景山水《秋江待渡图》又展出啦！

展览海报

上一次还是在2017年台北故宫“国宝的形成”书画精华大展上，与王羲之《快雪时晴帖》、吴镇的《双松图》、文同的《墨竹图》等45件作品一同展出呢。而从4月2日到6月29日间，它会在台北故宫博物院北院区208室“solo”展出——一张画竟然能独享一间展厅，这或许会成为“博物馆疲劳症”患者们的福音吧。

The last time was at the 2017 Taipei National Palace Museum “The formation of National Treasures”calligraphy and painting exhibition, together with 45 works, including Wang Xizhi’s “Fair in the fast snow”, Wu Zhen’s “Double pines”and Wen Tong’s “Ink bamboo”. From April 2 to June 29, it will be shown “Solo”in room 208, Taipei’s The Palace Museum district -- a single room for a single painting, which could be a boon for museum fatigue sufferers.

明 仇英《秋江待渡图》 155.4x133.4cm 绢本 现藏：台北故宫博物院

如果说前段时间台北故宫所有展览中最“吸睛”的是唐玄宗唯一传世墨迹《鹡鸰颂》，那从4月2日开始，《秋江待渡图》或许能帮《鹡鸰颂》“分担”一些观众们的热情。

If one of the most fascinating pieces on display at the Palace Museum in Taipei was Emperor Xuanzong of Tang’s only known ink, Ode to Wagtail, which began on April 2nd, the museum’s main attraction will be the Palace Museum, the wagtail song might help to share some of the audience’s enthusiasm.

唐 李隆基《鹡鸰颂》局部 现藏：台北故宫博物院

与帝王之作《鹡鸰颂》相比，《秋江待渡图》也显现了一种跨越时代的浩荡气魄。可以看到，以水景为重心的画面上，江岸平远，远山雄峙，山水空间以Z字形斜向深入延伸，凸显了北宋全景式山水画的构图特点。

Compared with the emperor’s Wagtail Ode, the Autumn River waiting for the ferry also shows a magnificent spirit spanning the ages. It can be seen that the water landscape as the center of gravity on the screen, the river bank is flat, the distant mountains stand out, landscape space to z-shaped oblique deep extension, highlighting the Northern Song Dynasty panoramic landscape painting composition characteristics.

《秋江待渡图》局部

山石皴写近斧劈皴，设色浓丽。仇英在山体表面敷染淡雅明静的青绿色，让山石如碧玉般清润。山边水际以红绿林木交错点缀，将山石的质感和秋日的缤纷体现得淋漓尽致。

Shan Shi texturing writing nearly chapped chop, strong color design. Qiu Ying painted the surface of the mountain in a light, elegant, still turquoise color, so that the rocks were as clear as Jasper. Interspersed with red and green trees, the mountain and stone texture and the colorful autumn reflects incisively and vividly.

《秋江待渡图》局部

浓重秋色中，《秋江待渡图》以高山下的野渡口为舞台，上演了一出游人过江的戏剧。前景中，坐在山石边的白衣文士，神情愉悦中若有所思，家眷、举扇与牵马的小童围绕身侧，形成了一组家常的对话。

In the thick autumn scenery, “The Autumn River to be crossed”takes the wild ferry under the high mountain as the stage, staged a tourist to cross the river’s drama. In the foreground, sitting on the side of a mountain stone, the white-clad man of letters looks happy and thoughtful. The family members, the children holding fans and horses form a group of daily conversations around his side.

《秋江待渡图》局部

与他们遥相呼应的，是对岸的渡客们：已上船的两位乘客正商量着什么事情，一人说一人听；岸上一背包青年大步踏来，似乎刚好赶上船，因此开怀而笑。

They were echoed by the ferrymen on the other side: two passengers on board were discussing something, one speaking, the other listening; and a young man on the bank, with a backpack, seemed to be just in time for the boat, and laughed heartily.

《秋江待渡图》局部

作为整个故事里隐形的主角、“大江两岸的希望”，船夫露出了一个正在伸手吆喝青年上船的生动背影。

清润的山体、充满豪情的全景式构图、丰富灵动的人物……仇英融高超的绘画技艺与文士的诗情为一体化作《秋江待渡图》，形成了超越传统的全景新样式，令人耳目一新。在这件国宝书画背后，又隐藏着哪些故事？你知道它还和仇英的艺术家奋斗史有关吗？民国时期，它竟然曾遭上万人围观？待渡500年，它又是如何成为国宝的？

As the invisible protagonist of the whole story, “Hope on both sides of the river”, the boatman exposed a young man is shouting to get on the boat vivid back. The picturesque mountains, the bold panoramic composition, and the vivid characters... Qiu Ying combines his superb painting skills with the poetry of the literati to create a new panorama beyond the traditional style, it’s refreshing. What stories are hidden behind this national treasure? Did you know it also has to do with Qiu Ying’s history of struggling as an artist? During the Republic of China, it was surrounded by tens of thousands of people? After 500 years, how did it become a national treasure?