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清王時敏倣黃公望山水 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者王時敏
- 色彩設色,青綠
- 裝裱形式軸
- 創作時間清聖祖康熙九年（1670）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@147.8x67.4
- 質地本幅@#@絹
- 題跋資料作者款識@#@王時敏@#@本幅@#@大中丞覲翁老先生。偉略弘猷。為世鼇柱。越江濊澤。流溢鄰疆。敏霑九里餘潤。傾嚮日殷。且衰門之與高平。世有姻誼。顧草野枯賤。不敢以莩末。攀援雲霄。惟繪事性所夙耽。久因衰眊廢閣。茲勉作小圖。奉供几席。雖目昏腕弱。醜拙茲彰。猶冀筆墨之微。仰邀大方法鑒。庶薋葹小草。得沐慶霄渥采。生色更無量耳。康熙庚戌（西元一六七０年）暮春。婁東王時敏識。時年七十有九。@#@楷書
- 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@#@@#@鑑藏寶璽@#@石渠定鑑@#@@#@鑑藏寶璽@#@寶笈重編@#@@#@鑑藏寶璽@#@養心殿鑑藏寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶
- 主題主要主題@#@山水@#@@#@其他主題@#@山水@#@江河、湖海@#@江河@#@@#@其他主題@#@建築@#@籬笆、圍牆@#@@#@其他主題@#@建築@#@茅草屋@#@@#@其他主題@#@山水@#@山徑@#@@#@其他主題@#@建築@#@房舍@#@@#@其他主題@#@山水@#@瀑布@#@@#@其他主題@#@山水@#@溪澗、湍泉@#@溪澗@#@@#@其他主題@#@樹木
- 技法寫意@#@@#@皴法@#@@#@皴法@#@披麻皴@#@@#@苔點
- 參考資料收藏著錄@#@石渠寶笈續編（養心殿），第二冊，頁1143@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁506@#@@#@收藏著錄@#@故宮書畫圖錄，第十冊，頁21-22@#@@#@參考書目@#@1.陳昱全，〈清王時敏倣黃公望山水〉，收入何傳馨主編，《山水合璧：黃公望與富春山居圖特展》（臺北：國立故宮博物院，2011年五月初版一刷），頁342。 @#@@#@內容簡介（中文）@#@本幅近景描繪山屋錯落，林木繁密，溪水湍流之景。隔著山嵐雲霧之後，是三角形層層向後疊加的龐大山體。以濕潤、綿長的披麻皴法勾勒岩石與山體輪廓，再罩染赭石和汁綠，使畫面更為明亮並具裝飾性。本幅母題、構圖、山體構成與〈倣黃公望臨董源夏山圖〉相似。而植被茂盛，山體渾厚，土石平臺遍布，加以披麻皴法與側筆點染的苔點，接近明清畫家對黃公望「峰巒渾厚，草木華滋」的認識。此軸為友人覲翁先生，作於康熙庚戌（1670）。(20110609)@#@@#@內容簡介（中文）@#@王時敏（西元一五九二－一六八○年），江蘇太倉人。字遜之，號煙客，又號西廬老人、西田主人、偶諧道人、歸村老農等。生既天資穎異，加上好學精勤，家中又富於收藏，所以博學淹雅，除善詩文書法外，對於山水畫特有領悟，一生尊崇黃公望，精研力學其畫法，獲得出藍之稱譽。他的畫以構圖複雜為特色，重山峻嶺、千村萬樹，都能安排得層次井然，令人宛然有身入實境之感。@#@@#@內容簡介（英文）@#@ Wang Shih-min, a native of T’ai-ts’ang in Kiangsu, was a man of unusual natural talent in art and a dedicated and diligent student. His family possessed a rich collection of art. Consequently, his learning was deep and refined, and, in addition to being skilled at poetry, prose and calligraphy, he particularly excelled at the art of landscape painting. Throughout his life, he revered the Yuan dynasty master Huang Kung-wang (1269-1354), intensively and successfully studying his painting method. Compositional complexity was a special feature of Wang’s paintings. Layered mountains and folded peaks, numerous villages, and myriad trees were all orderly arranged to give the viewer a feeling of actually being able to enter the landscape.@#@@#@內容簡介（英文）@#@The foreground scenery of this painting depicts scattered mountain homes amongst dense forests and a rushing stream. Behind and separated by peaks in clouds and mists are layers of triangular forms receding back to create a massive mountain. Moist and continuous hemp-fiber texture strokes outline the rock forms and peak shapes, to which washes of ochre and vegetable green were added, making the painting even brighter and more decorative. The construct of mountain forms, composition, and motifs is similar to Wang Shimin’s “Copying Huang Gongwang’s Imitation of Dong Yuan’s ‘Summer Mountains.’” And the lush vegetation, naturally powerful mountain forms, scattered flat outcroppings, hemp-fiber texture-stroke method, and moss dots done with a slanted brush are similar to the understanding among Ming and Qing dynasty painters of Huang Gongwang’s style as “Peaks and ridges natural and powerful, grasses and trees lush and moist.” This painting was done for Wang Shimin’s friend, Jinweng, in 1670.(20110609)
- 地圖
引用資訊
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