跳到主要內容區塊
:::
清王原祁仿黃公望筆意 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
- 創作時間清聖祖康熙四十六年（1707）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@85.2x44.7
- 質地本幅@#@紙
- 題跋資料作者款識@#@王原祁@#@本幅@#@大癡畫。由淡入濃。以意運氣。以氣會神。雖粗服亂頭。益見其嫵媚也。作者於行間墨裡。得幾希之妙。若以迹象求之。便大相逕庭矣。丁亥（西元一七０七年）初秋新涼。寫於雙藤書屋。麓臺祁。@#@草書
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@御書房鑑藏寶@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@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@#@建築@#@房舍@#@@#@其他主題@#@建築@#@橋@#@@#@其他主題@#@樹木@#@寒林．枯樹@#@枯樹@#@@#@其他主題@#@山水@#@溪澗、湍泉@#@湍泉@#@@#@其他主題@#@山水@#@江河、湖海@#@江河@#@@#@其他主題@#@樹木
- 技法皴法@#@@#@苔點
- 參考資料收藏著錄@#@石渠寶笈初編（御書房），下冊，頁1162@#@@#@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311-312@#@@#@參考書目@#@1.江兆申，〈清王原祁仿黃公望筆意〉，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。 2.陳昱全，〈清王原祁仿黃公望筆意〉，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）@#@王原祁，江蘇太倉人，（西元一六四二至一七一五）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。 畫樹畫山，皆草草若不經意，而筆墨精練，實從錘鍊中出也。此幀用意極得子九（黃公望）心法，覺與富春山居圖卷有相契處。惟側筆特多，不免思翁（董其昌）之影響耳，六十六歲作。@#@@#@內容簡介（中文）@#@本幅近景描繪水平向右突出的水岸，有高大的樹叢將近景連貫至後方主山，山體層層堆疊、延伸扭轉，合於王原祁畫論講究的「氣勢」。用筆精要簡約，以乾筆勾畫樹石山體後再作皴擦，較少暈染。題識：「大癡畫，由淡入濃，以意運氣，以氣會神，雖粗服亂頭，益見其嫵媚也。作者於行間墨?，得幾希之妙，若以跡象求之。便大相逕庭矣。」此軸作於1707年，構圖及物象布排與另一幅同年鉅作〈倣黃公望秋山圖〉近似，或出於同稿。(20110609)@#@@#@內容簡介（英文）@#@The foreground of this painting depicts a bank stretching out to the right into the water with large trees connecting the foreground to the main mountain in the background. The hills are piled in layers that twist back and forth, according with the idea of “breath force” that Wang Yuanqi emphasized in painting theory. The essentials of brushwork are succinct, with a dry brush outlining the rocks and trees, after which texturing and a few washes were added. Wang’s inscription reads, “Huang Gongwang’s painting goes from light to dark, transforming idea into energy, and then energy to transmit the spirit. Although appearing unkempt [at first glance], it is easy to see the beauty. Moving amidst the ink in the work, one can achieve few of its marvels if only seeking the forms, which is something very different.” This hanging scroll from 1707 is similar to Wang’s masterpiece of the same year, “In Imitation of Huang Gongwang’s ‘Autumn Mountains,’” in terms of composition and arrangement of motifs, perhaps both being from the same draft.(20110609)@#@@#@內容簡介（英文）@#@Wang Yűan-ch’i was a native of T’ai-ts’ang, Kiangsu. He was a grandson of the noted artist and collector Wang Shih-min (1592-1680), and is included among the Four Great Masters of the Ch’ing Dynasty. The trees and mountains are freely painted, as if the artist had not considered them carefully. But Wang Yűan-ch’i’s use of brush and ink is quite skilful. In this scroll Wang Yűan-ch’i was extremely successful in achieving the essence of Huang Kung-wang’s style. There are close relationships between this scroll and Huang Kung-wang’s “Dwelling in the Fu-ch’un Mountains” handscroll. Wang Yűan-ch’i painted th2is landscape when he was 66 years old.
- 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。