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清王原祁仿黃公望山水 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者王原祁
- 色彩設色,青綠
- 裝裱形式軸
- 創作時間清聖祖康熙四十七年（1708）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@106.5x60
- 質地本幅@#@紙
- 題跋資料作者款識@#@王原祁@#@本幅@#@其章從余遊。應欽召入都。閱二載丁亥春仲。為尊甫德先先生七袠大壽。以分任編輯。不遑趨庭萊舞。值余扈從南歸。切懇寫此為南山之祝。途次公事鞅掌。鹿鹿趨直。倣一峰老人筆。點染未竟。戊子（西元一七０八年）春正。應制稍暇。餘墨剩色。撥冗續成。疾行無善步。不足稱壽翁添籌駐顏之意。書以志愧。王原祁。@#@草書
- 印記資料鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@嘉慶鑑賞@#@@#@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@#@寶笈三編@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@收傳印記@#@靜歗齋鑑藏印
- 主題主要主題@#@山水@#@@#@次要主題@#@山水@#@江河、湖海@#@江河@#@@#@其他主題@#@樹木@#@寒林．枯樹@#@枯樹@#@@#@其他主題@#@樹木@#@松@#@@#@其他主題@#@樹木@#@竹@#@@#@其他主題@#@樹木@#@@#@其他主題@#@建築@#@水榭@#@@#@其他主題@#@建築@#@亭@#@@#@其他主題@#@建築@#@橋@#@@#@其他主題@#@建築@#@房舍
- 技法寫意@#@@#@皴法@#@披麻皴@#@@#@苔點
- 參考資料收藏著錄@#@石渠寶笈三編（延春閣），第五冊，頁2211@#@@#@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323-324@#@@#@參考書目@#@1.江兆申，〈清王原祁仿黃公望山水〉，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124-125。 2.陳昱全，〈清王原祁仿黃公望山水〉，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354。@#@@#@內容簡介（中文）@#@本幅用披麻皴與側筆擦染山石，多處直接以赭石、汁綠、花青暈染，鮮麗的色彩對比帶給畫面生意盎然的氣息。前景兩組高大喬松引發兩股山體運動：一支由左下至右中並延伸至右側主山；另一支則由左下至左中山脈、最後再由遠山山脊延伸往右上主山。透過橫向汀渚、房舍、小橋、土坡聯結左右兩脈山勢。流水從右下引入，隨著兩道山勢左右迴盪、似斷實連，導向遠方水岸與天際融成一體，將山體環抱在水天相連的構圖之中。(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。字茂京，號麓台，一號石師道人。時敏孫。康熙九年進士，官至戶部侍郎。善畫，承董其昌及時敏之學，肆力山水，領袖群倫，影響後世甚鉅。 叠嶂層山，構景繁而不亂；分流曲澗，佈局細而不碎。蓋丘陵野水，雖平衍錯雜，而壓頂一山，延綿雄偉之勢，足以鎮之。下角一坡數樹，屋舍掩映於其間，與主山若斷若續，遂使全幅空靈。虛實相發，真善於結構者也。 @#@@#@內容簡介（英文）@#@ Wang Yűan-ch’i was from T’ai-ts’ang in Kiangsu. His style name was Mao-ching, and his sobriquets were Lu-t’ai and Shih-shih tao-jen. He was a grandson of the artist Wang Shih-min. In 1671 he passed the chih-shih examination. Basing his painting style on those Tung Ch’i-ch’ang (1555-1636) and his father, he was the leading artist of his day and greatly influenced later generations of painters. In this work a mountain range forms a dense but orderly framework. A wilderness stream flows irregularly through the craggy terrain, and the majestic peaks compress the composition with an everlasting, stately power. In the lower corner, buildings concealed by trees top a hillock. The intermingling of light and shadow, contrasting with the central mountain, increase the feeling of spaciousness. Abstract and concrete elements together form a forceful composition. @#@@#@內容簡介（英文）@#@This painting employs hemp-fiber texture strokes and slanted-brush applications of washes for the mountains and rocks, with many places directly applied with washes of ochre, vegetable green, and cyanine blue, the dramatic contrast in colors giving the painting an atmosphere full of life. The foreground consists of two groups of large pines that compositionally begin the movement of two mountain ranges. One of them goes from the lower left to the middle right and then extends to the main mountain on the right side. The other goes from the lower left to the middle left mountain range and finally extends to the ridge of distant mountains continuing to the main mountain in the upper right. The shoal, building, bridge, and slope motifs connect the force of the two mountain ranges on the left and right. The water also flows from the lower right into the composition, reverberating with the left and right forces of the two mountain ranges, appearing disjointed but actually being connected. Leading to a unity of skies and river banks in the distance, it creates a composition in which mountains surround a connected realm of water and sky.(20110609)
- 地圖
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