跳到主要內容區塊
:::
清王原祁春雲出岫 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者王原祁
- 色彩設色
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@124x71
- 質地本幅@#@絹
- 題跋資料作者款識@#@王原祁@#@本幅@#@臣王原祁恭畫@#@楷書@#@@#@題籤@#@王原祁山水。
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@乾隆鑑賞@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫
- 主題主要主題@#@山水@#@春景@#@@#@次要主題@#@山水@#@雲@#@@#@其他主題@#@山水@#@瀑布@#@@#@其他主題@#@山水@#@山徑@#@@#@其他主題@#@山水@#@溪澗、湍泉@#@溪澗@#@@#@其他主題@#@樹木@#@@#@其他主題@#@樹木@#@松@#@@#@其他主題@#@花草@#@桃花@#@@#@其他主題@#@建築@#@房舍@#@@#@其他主題@#@建築@#@橋@#@@#@其他主題@#@建築@#@茅草屋@#@@#@其他主題@#@建築@#@水榭
- 技法寫意@#@@#@皴法@#@@#@皴法@#@披麻皴@#@@#@苔點
- 參考資料收藏著錄@#@故宮書畫錄（卷五），第三冊，頁539@#@@#@收藏著錄@#@故宮書畫圖錄，第十冊，頁351-352@#@@#@參考書目@#@1.〈清王原祁春雲出岫〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁58。 2.江兆申，〈清王原祁春雲出岫〉，收入胡賽蘭編，《清王原祁畫山水畫軸特展》（臺北：國立故宮博物院，1997年初版），頁137。 @#@@#@內容簡介（中文）@#@ 王原祁（西元一六四二－一七一五年），江蘇太倉人。時敏之孫。字茂京，號麓臺。康熙庚戌進士，歷官少司農。畫由家學，遠邁時倫，為清四大家之一。 此幅不記年月，大抵亦為暮年之作，蓋筆墨不求細謹，以拙樸為尚。與幕年諸作若合符契，第以出之於絹，故不若用紙之更有古趣。青綠設色，信筆塗抹，錯雜不勻，於斑剝陸離之中，自饒古厚之意，此變舊法而能自陳新意者。壓頂一峰，與遠山相映，輕清重厚，交錯互出，極饒妙韻。 @#@@#@內容簡介（英文）@#@ Though the painting is not dated, it probably is a late work. There is no concern for fine, detailed use of the brush and ink, but a calculated simplicity which is in keeping with other late works by Wang Yűan-ch’i. Since the landscape is painted on silk, it is less antique in spirit than if it had been painted on paper. The blue and green pigment is applied freely, maintaining a successful mid-point between variety and continuity that has an antique style. The variation on the antique enabled Wang Yűan-ch’i to develop a new style. The highest mountain peak is complemented by the distant mountains which are more brilliant in color and emerge intertwined with each other.@#@@#@內容簡介（英文）@#@Wang Yuan-ch'i was grandson of the renowned artist Wang Shih-min, and they were two of the "Four Wangs"advocating the Orthodox School of painting. After passing the Presented Scholar examination in 1670, Wang Yuan-ch'i became active at court and strongly influenced painting there. Following the literati style, he employed the techniques of the Yuan masters. Many officials studied his painting style and he also was chief compiler of the 1708 imperial catalogue P'ei-wen chai shu-hua p'u. Though not dated, this is probably a late work. Since the landscape is painted on silk, the surface coloring has an even glossier sense. The structure of the landscape veins quotes from the visual vocabulary of the Yuan master Huang Kung-wang.
- 地圖
引用資訊
本網站使用Cookies收集資料用於量化統計與分析，以進行服務品質之改善。請點選"接受"，若未做任何選擇，或將本視窗關閉，本站預設選擇拒絕。進一步Cookies資料之處理，請參閱本站之隱私權宣告。