跳到主要內容區塊
:::
清王原祁雲壑流泉圖 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
- 色彩水墨
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@94.3x48.9
- 質地本幅@#@紙
- 題跋資料作者款識@#@王原祁@#@本幅@#@翰林院侍講臣王原祁恭畫@#@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@#@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@#@雲@#@@#@其他主題@#@樹木@#@松@#@@#@其他主題@#@建築@#@橋@#@@#@其他主題@#@建築@#@房舍@#@@#@其他主題@#@建築@#@水榭@#@@#@其他主題@#@山水@#@溪澗、湍泉@#@溪澗@#@@#@其他主題@#@樹木@#@@#@其他主題@#@山水@#@江河、湖海@#@江河
- 技法寫意@#@@#@皴法@#@披麻皴@#@@#@皴法@#@米點皴@#@@#@苔點
- 參考資料收藏著錄@#@石渠寶笈初編（養心殿），上冊，頁671@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁540@#@@#@收藏著錄@#@故宮書畫圖錄，第十冊，頁353-354@#@@#@參考書目@#@1.江兆申，〈清王原祁雲壑流泉圖〉，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136。 @#@@#@內容簡介（中文）@#@王原祁，江蘇太倉人，王時敏之孫，字茂京，號麓台。生於明崇禎十五年，死在清康熙五十四年，中康熙九年進士，歷官至少司農。他的山水畫得自祖傳，學的仍是元代黃公望，但却能別開生面，以明末董其昌的理論和技法為基礎，演繹成一種乾筆皴擦、淡墨焦墨交互為用層層加深的畫法，這種以「面」取代「線」的繪畫觀，頗為近似現代石炭畫法。是以他的作品畫面重山複水、叢樹村落，縱橫錯雜，近看渾淆一片，遠看則景物虛實、高下遠近，頓見分明。@#@@#@內容簡介（中文）@#@麓臺墨筆仿大癡。筆墨特為腴潤。下署臣字款。是當年進御之作。@#@@#@內容簡介（英文）@#@This painting was done expressly for the emperor, as indicated by Wang’s signature, which includes the word “servitor.” This was inspired by the work of the Yuan master Huang Kung-wang (1269-1354) and employs a brush and ink technique that is rich and full-bodied in effect.@#@@#@內容簡介（英文）@#@Wang Yűan-ch’i was from T’ai-ts’ang in Kiangsu. He was a grandson of the artist Wang Skih-min. In 1671 he successfully passed the chin-shih examination and was later appointed a shao-ssu-ning official. His landscape painting continued the traditions of his forerunners - for example, he still studied the painting of the Yűan dynasty master Huang Kung-wang. But he was nevertheless able to open up new paths in painting. Using the theories and achievements of the late Ming painter Tung Ch’i-ch’ang as a basis, he evolved a kind of dry and rubbed brush style. Bland ink and roasted ink are juxtaposed in layers to add depth to the painting. The resulting surface is used instead of the more traditional linear one, rather like modern charcoal drawing. With its complex surface, numerous mountains and streams, trees and villages, miscellaneous vertical and horizontal forms, this painting seems confused in its details when viewed at close-by. But seen from afar, the scenery is transformed into solid and hollow, high and low, far and near forms, which can all be immediately distinguished.
- 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。