瑶碧华琚 · 《洛神赋图》九大传世古本之六美国弗利尔美术馆乙本（白描长卷）

博物馆光影经典

2024-12-18 13:57发布于陕西文化领域创作者

美国弗利尔美术馆的洛神赋白描卷有两个文档，博物馆编号分别是F1968.12和F1968.22，官网对两幅画的说明基本一样。F1968.22的内容恰好也是洛神图最后一幕的“东归”，对于画幅长度也说明是两幅图共533.6cm（“H x W (image, F1968.12 and .22): 24.1 x 533.6 cm ”）。所以在文末的高清长卷中我就把他们拼接在了一起，这就是历代《洛神赋图》九大传世古本中唯一的白描本。据现代学者的考证，该画是李公麟摹临，底本为陆探微《洛神图》样唐代摹本。

文末的长卷应该是网上能找到的弗利尔美术馆所藏洛神赋图白描本的最完整版本了。

何吾驺题引首题：神品庚辰润元夜为仲常世丈题吾驺

“吾驺”为明末清初何吾驺，明末南明首辅。“仲常”应为郭之奇亦为南明大臣，历任南明文渊阁大学士加太子太保兼吏部尚书、兵部尚书。

历代学者认为该卷为明代墓本，且与李公麟画风关系密切，也有观点认为或许是唐本陆探微《洛神图》的再摹本。改卷所钤收传印鉴多至四十余枚。

题签：”唐陆探微《九歌图》真迹神品”

这里的题签被学者认为是存在问题的：“书者何人尚未查明，但是这样的标记本身已犯两个错误：首先是陆探微为南朝刘宋时期著名画家，并非唐人。其次，本幅是《洛神赋图》而非《九歌图》由此可见题签者可能是一书法家，对画史一无所知，所以才会犯下这些基本错误。”

解玉佩以要之

刘墉题跋：唐陆探微与顾恺之齐名，余平生止见文殊降灵真迹，部从人物共八十八人，各画其妙，内亦有番僧手持骷髅木盂者，盖西域俗。然此卷《九歌图》，行笔紧细，无纤毫遗恨，望之神采动人，真稀世之宝也。石菴刘镛题

当代学者陈葆真先生说:“刘墉的跋文疑点有三。其一,款书'石庵刘镛’之'镛’应为'墉’。其二,刘墉为山东诸城人,乾隆十六年进士，为清初著名书家。学识渊博又擅书的刘墉当不至于把陆探微当作唐代人，更不至于将《洛神赋图》误作为《九歌图》。因此，这则跋文本身已文不对题。其三，此跋书法与刘墉其他作品相较，差异甚大，因此可判为伪作。”当然，学界说法争论很多，但不在本文重点了。

白描本卷后第二跋为明代官员魏骥 :九歌图卷后

善评者若有神助，夫九歌之目:天神五，人鬼二，地祇一，物魅一，盖楚国之所祀者也。歌者，楚巫临祀歌以侑神之辞也。三间大夫以被谗不得其君，故拟巫之歌，作为九篇，非惟有以易其巫之靡曼，实借以奇其惓惓忠爱之意。而居士作之，岂徒然哉!诚欲后世即其象以求其辞，以求其心焉耳，太常庸菴冯公，好古博雅君子也，是卷盖其所珍袭者，因以示余，故余得识其末简。宣德八年岁次癸丑十二月哉生明，太常寺少卿萧山魏骥书

白描本卷后第三跋为清代官员宋荦，字牧仲：郭若虚有云:……此语亦定论也。然人物以吴生为圣，山水以营丘为神，由此推之，则仲宋当推伯时，元初必让子昂，盖二君虽不能凌吴蹈李，而能撮二家之长故也。康熙五十三年秋七月，昔客京师，于郭君竹隐同游厂中，骨董客出示此卷，余展卷玩一过，喜不自甚，遂出重价购得，珍如拱壁，并录郭若虚论画于卷后。商丘宋牧仲书。

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Object Details

Artist

Formerly attributed to Lu Tanwei (active 460s-early 500s)

Label
This handscroll illustrates the early part of a long rhapsody, or prose-poem (fu), written in 222 by the poet and prince Cao Zhi (192–232), in which he describes his imaginary romantic encounter with the nymph, or goddess, of the Luo River in central China. While the figures are fully drawn, the background elements are executed in a simple outline drawing style known as baimiao and are characteristic of the early decades of the Chinese landscape tradition. In his prose-poem, Cao describes the nymph:
Her body soars lightly like a startled swan,
gracefully, like a dragon in flight,
in splendor brighter than the autumn chrysanthemum,
in bloom more flourishing than the pine in spring;
dim as the moon mantled in filmy clouds,
restless as snow whirled by the driving wind.
Excerpted from Burton Watson, trans. and ed., Columbia Book of Chinese Poetry: From Early Times to the Thirteenth Century (New York, 1984).
Collection
Freer Gallery of Art Collection
Exhibition History
Masterpieces of Chinese Painting (IV) (June 12 to November 28, 2010)
Tales of the Brush: Chinese Painting with Literary Themes (February 9 to July 27, 2008)
Boating on a River (February 12 to August 14, 2005)
Chinese Figure Painting (September 17, 1973 to January 3, 1975)
Eugene and Agnes E. Meyer Memorial Exhibition (September 25, 1971 to October 2, 1972)