郭沫若山水 - 美国大都会艺术博物馆展品查阅

品名（中）	郭沫若山水
品名（英）	Landscape in the Style of Guo Xi
入馆年号	1913年，13.220.122
策展部门	亚洲艺术（Asian Art）
创作者	Tan Song【1700 至 1800】【中国人】
创作年份	公元 1748
创作地区
分类	绘画（Paintings）
尺寸	32 3/4 × 41 1/4 英寸 (83.2 × 104.8 厘米) 整体 with mounting: 78 1/8 × 43 1/2 英寸 (198.4 × 110.5 厘米) 整体 with knobs: 78 1/8 × 47 英寸 (198.4 × 119.4 厘米)
介绍（中）	除了这幅画，没有其他已知的关于艺术家谭松的参考资料。根据他的题词，他的灵感来自十一世纪山水大师郭熙的画笔成语。但从这幅画的风格、内容和日期可以清楚地看出，谭是袁江（1680-1730年）和袁瑶（1730年-1778年后）的亲密追随者，很可能在家庭工作室协助他们。谭的画作以两位元家的类似构图为蓝本，也以郭熙为风格来源，同样以满载牛车在山间穿行为特色。然而，谭松急于效仿这些大师，却对他们的举止进行了讽刺。在谭氏的手中，谭氏为定义景观特征而充满活力的笔触风格已经变成了一堆紧张的波浪线和卷曲，不再描述实质性的形式。同样的过度阐述倾向也体现在谭咏麟散落在他的作品中的大量叙事元素和流派细节中，包括两辆牛车，其不合逻辑的目的地似乎是中央山峰的顶峰。
介绍（英）	Except for this painting, there are no other known references to the artist Tan Song. According to his inscription, he was inspired by the brush idiom of the eleventh-century landscape master Guo Xi. But it is clear from the painting’s style, content, and date that Tan was a close follower of Yuan Jiang (act. 1680–1730) and Yuan Yao (act. 1730–after 1778) and may well have assisted them in the family studio. Tan’s painting is modeled on similar compositions by both of the Yuans that also invoke Guo Xi as their stylistic source and similarly feature heavily laden ox carts moving through the mountains. Yet in his eagerness to emulate these masters, Tan Song has created a caricature of their manner. In Tan’s hands the Yuans’ exuberant style of brushwork for defining landscape features has become a frothy profusion of nervous squiggles and curlicues that no longer describe substantial forms. The same tendency toward overelaboration is also apparent in the profusion of narrative elements and genre details that Tan has scattered throughout his composition, including two oxcarts whose illogical destination seems to be the crest of the central peak.