孤独山谷中的春天之声 - 美国大都会艺术博物馆展品查阅

品名（中）	孤独山谷中的春天之声
品名（英）	The Sound of Spring in a Lonely Valley
入馆年号	1989年，1989.363.133
策展部门	亚洲艺术（Asian Art）
创作者	Hongren【1610 至 1664】【中国人】
创作年份	公元 1661
创作地区
分类	绘画（Paintings）
尺寸	图像: 40 1/2 × 16 1/8 英寸 (102.9 × 41 厘米) 整体 with mounting: 76 1/2 英寸 × 22 英寸 (194.3 × 55.9 厘米) 整体 with knobs: 76 1/2 × 24 1/2 英寸 (194.3 × 62.2 厘米)
介绍（中）	艺术家（右）之后的题词："寂寞谷的春之声，新寿年春正月（1661年1月30日-2月28日），为绅士娇茹、弘仁作"和陈澍[晋师学位，1649年，左]孝顺儿子孝顺，父亲早逝后帮助养育母亲，明朝末期通过了地方公务员考试，但在1644年王朝灭亡后结束了对官职生涯的追求。作为一名佛教僧侣，为了避免在满族统治下服役，洪仁在他的家乡安徽省度过了他的余生，在那里他成为所谓的安徽画派的核心人物，他们的共同纽带是他们对黄山（黄山）崎岖风景的迷恋。洪仁喜欢一种干线性技术，与元代隐士画家倪赞（1306-1374）的风格相呼应。在这卷轴中，倪的影响在细长的前景树木和棱角分明的岩层中显而易见。树木规模的缩小有助于定义衰退，并强调中心高耸的悬崖的压倒性规模，它主导了构图，并赋予了类似于北宋（960-1127）作品中宏伟山峰的巨大意义。虽然这幅画长期以来一直被誉为原始的红仁，但书法和山水形式的笔触弱点表明它实际上是一个接近的复制品。
介绍（英）	Inscriptions after the artist (right): "The Sound of Spring in a Lonely Valley, the first lunar month of spring in the xinchou year [January 30–February 28, 1661], painted for the gentleman Jiaoru, Hongren" and after Chen Shu [jinshi degree, 1649, left] Hongren, a filial son who helped support his mother after his father's premature death, passed the local civil-service examination during the late Ming period but ended his pursuit of an official career after the fall of the dynasty in 1644. Becoming a Buddhist monk as a way of avoiding service under the Manchus, Hongren spent the rest of his life in his native Anhui Province, where he became the central figure in the so-called Anhui School of painters, whose common bond was their fascination with the rugged scenery of Yellow Mountain (Mount Huang). Hongren favored a dry linear technique that echoes the style of the Yuan dynasty recluse-painter Ni Zan (1306–1374). In this scroll Ni's influence is apparent in the spindly foreground trees and angular rock formations. The diminishing scale of the trees helps define recession and emphasizes the overwhelming size of the towering cliff at center, which dominates the composition and imparts a monumentality similar to that of the grandly scaled peaks of Northern Song (960–1127) works. While the painting has long been admired as an original Hongren, weaknesses in the brushwork of the calligraphy and landscape forms suggest that it is actually a close copy.