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清王原祁仿黃公望秋山 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
- 創作時間清聖祖康熙五十二年（1713）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@105.6x47.8
- 質地本幅@#@紙
- 題跋資料作者款識@#@王原祁@#@本幅@#@大癡秋山。余從未之見。曾聞之先大父云。於京江張子羽家。曾一寓目。為子久生平第一。數十年來。時移物換。此畫不可復覩。藝苑論畫。亦不傳其名也。癸巳（西元一七一三年）九秋。風高木落。氣候蕭森。拱宸兄將南歸。余正值思秋之際。有動於中。因名之曰倣大癡秋山。不知當年真虎。筆墨如何。神韻如何。但以余之筆。寫余之意。中間不無悠然以遠。悄然以思。即此為秋水伊人之句可也。婁東王原祁畫并題。年七十有二。@#@行書
- 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@#@御書房鑑藏寶@#@@#@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@#@秋景@#@@#@次要主題@#@山水@#@江河、湖海@#@江河@#@@#@其他主題@#@山水@#@瀑布@#@@#@其他主題@#@山水@#@雲@#@@#@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@#@樹木@#@@#@其他主題@#@樹木@#@松@#@@#@其他主題@#@樹木@#@寒林．枯樹@#@寒林
- 技法寫意@#@@#@皴法@#@披麻皴@#@@#@苔點
- 參考資料收藏著錄@#@石渠寶笈續編（御書房），第四冊，頁，2101@#@@#@收藏著錄@#@故宮書畫錄（卷八），第四冊，頁97@#@@#@收藏著錄@#@故宮書畫圖錄，第十冊，頁341-342@#@@#@參考書目@#@1.江兆申，〈清王原祁仿黃公望秋山圖〉，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123-124。 2.江兆申，〈清王原祁仿黃公望秋山〉，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132。 3.陳昱全，〈清王原祁仿黃公望秋山〉，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351-354。@#@@#@內容簡介（中文）@#@本幅採全景式構圖，左側以斜向堆疊的山體形成蜿蜒走勢，搭配右側樹叢與山體創造出的另一股脈動。兩股大小山體運動間，以水平向的坡岸和小橋匯通左右山體的氣脈。將右下逐漸往上綿延的水域和雲氣描繪成一個個大小不一、相互疊加的半弧形，形成另一個與「實」的山勢相應之「虛」的動向。王氏晚年用筆更趨奔放大膽，直接用花青、汁綠、赭色皴染不同山體塊面，映襯著朱紅的樹葉、青綠的水岸，使畫面更為熱鬧繽紛。(20110609)@#@@#@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。 麓臺仿子久秋山，傳世者頗多，此本寫贈奕友吳來儀。根據幅上款識，王氏平生並未見過黃公望的秋山圖，此圖乃其懸揣之作。全作的筆墨、設色、章法無不妙絕，為麓臺精品。本幅作於丁亥（一七０七）秋日，王氏時年六十六歲。 @#@@#@內容簡介（英文）@#@ Wang Yűan-ch’i, a native of Kiangsu province, was the grandson of the painter Wang Shih-min. He served as Vice Minister of Revenue. Wang Yűan-ch’i studied painting in his family and his abilities far surpassed those of his contemporaries, becoming known as one of the Four Masters of the Ch’ing. Wang did many works after autumn landscapes by Huang Kung-wang. He painted this one as a gift for his friend Wu Lai-i. In the inscription, Wang states that he never saw the original by Huang Kung-wang, but his grandfather had often told him about it. Thus, this is based on his grandfather’s description. This work shows Wang at his best, in terms of brushwork, coloring, and composition. It was done in the fall of 1707 at the age of 65. @#@@#@內容簡介（英文）@#@This painting uses the complete-scene mode of composition, the left side consisting of piled mountain forms snaking diagonally into the background and complemented by another pulsating form on the right of tree clusters and mountains. Between the motion of the two mountain ranges of different sizes are banks and a small bridge connecting the force between the mountain forms on the left and right. The area of water that gradually extends up from the lower right along with the clouds and mists create arcing forms of differing sizes that complement each other, creating another direction of “solid” mountain force relative to the “void.” In his later years Wang Yuanqi’s brushwork became quicker and bolder, featuring the direct use of cyanine blue, vegetable green, and ochre washes for different parts of the mountains. Set off against the cinnabar red tree leaves and light blue banks, they make his painting appear even more raucous and bustling.(20110609)
- 地圖
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