道教神仙韩祥子 - 美国大都会艺术博物馆展品查阅

品名（中）	道教神仙韩祥子
品名（英）	The Daoist Immortal Han Xiangzi
入馆年号	2016年，2016.238
策展部门	亚洲艺术（Asian Art）
创作者	Liu Jun【1475 至 1505】【中国人】
创作年份	公元 1475 - 公元 1505
创作地区
分类	绘画（Paintings）
尺寸	图像: 48 英寸 × 26 3/4 英寸 (121.9 × 67.9 厘米) Framed: 62 1/4 × 39 英寸 (158.1 × 99.1 厘米)
介绍（中）	这幅由明代画家刘骏所作，描绘了道教神仙韩湘子在波涛汹涌的海面上奇迹般地行走。韩没有被脚下翻腾的海浪或风吹动他的衣服所吓倒，他漫不经心地把一支竹笛放在嘴边吹着曲子。他那古怪的乡村服装标志着他是一个超凡脱俗的人：他穿着一件由锯齿叶和卷曲的植物卷须组成的乡村斗篷。他的裤子上挂着一条芦苇裙。他的肩上挂着一个衬有动物皮毛的挎包，腰带上放着两个葫芦——道教传统的灵丹妙药神仙脚下的波浪以引人注目的几何图案描绘，图案中穿插着相应的保留丝绸。画作中间保留了大胆的空白丝绸，以表示伴随着这位不朽者神奇旅程的神秘薄雾。沿着这幅画的顶部边缘，快速绘制出单色墨水线和一大块水墨，简洁地显示了沸腾的海洋之外高耸的山脉景观刘骏在描绘韩祥子时采用了一系列不同的笔法，展现了明代艺术家所期望的精湛技艺。这位神仙的脸是通过温和渐变的颜料与自信的墨水和朱砂线条相结合来描绘的。头发和胡须由两种不同重量的线条组成，再加上一次洗涤，赋予人一种毛茸茸的触感。人物的相对比例较大，再加上敏感渲染的面部细腻的笔触，创造了一种类似肖像画的自然主义效果。相比之下，长袍的大胆笔触是自觉的表演，意在展示画家大胆的技术精湛。长袍轮廓的大胆绘画风格旨在与面部的自然主义形成对比，增强肖像的错觉人们对刘骏的生平知之甚少，但他现存的画作以及零星的文字证据表明，他是一位天才的人物、风景和建筑画家，曾在十五世纪末和十六世纪初为明朝宫廷服务。道教神仙在中国神话中最常见的是以八人一组的形式出现——一群快乐、神秘的怪人，每个人都有自己的特殊属性，这幅画几乎可以肯定最初属于一组八人的作品，打算一起展出。
介绍（英）	This painting by the Ming court artist Liu Jun depicts the Daoist immortal Han Xiangzi miraculously treading the surface of a turbulent sea. Unperturbed by the roiling waves beneath his feet or the wind that pulls at his garments, Han casually puts a bamboo flute to his lips to play a tune. His eccentrically rustic clothes mark him as a transcendent being: he wears a rustic cape of sawtoothed leaves and curly vegetal tendrils. Over his pants hangs a skirt of reeds. Over his shoulder hangs a satchel lined with animal fur, and his belt holds two dried gourds—the traditional vessel of magical Daoist elixirs. The waves at the immortal’s feet are described with a striking geometric pattern of modulated lines interspersed with corresponding sections of reserved silk. Bold patches of blank silk have been left in reserve across the painting’s middle to indicate numinous mist that accompanies the immortal on his magical journey. Along the painting’s top edge are quickly drawn lines of monochrome ink and a large patch of ink wash, a terse indication of a towering mountain landscape that lies beyond the seething ocean. Liu Jun employed a range of different brush modes in depicting Han Xiangzi, showcasing the technical virtuosity that was expected of a Ming court artist. The immortal’s face is depicted through a combination of gently graded washes of pigment with confidently drawn lines of ink and cinnabar. The hair and beard consist of two different weights of lines combined with a wash to impart a sense of hairy tactility. The large relative scale of the figure, combined with the delicate brushwork of the sensitively rendered face, creates a naturalistic effect similar to portraiture. By contrast, the bravura brushwork of the robes is self-consciously performative, meant to be read as a display of the painter’s daring technical virtuosity. The bold painterly quality of the robes’ contours is intended to contrast with the naturalism of the face, heightening the illusion of the likeness. Little is known about the life of Liu Jun, but his surviving paintings, along with fragmentary textual evidence, demonstrate that he was a gifted painter of figures, landscapes, and architecture who served the Ming court in the late fifteenth and early sixteenth centuries. Daoist immortals most commonly appear in Chinese mythology as a group of eight—a ragtag band of merry, numinous eccentrics, each featuring his own special attribute—and this painting almost certainly originally belonged to a set of eight that was meant to be displayed together.