石渠寶笈續編(重華宮),第三冊,頁1721&*故宮書畫錄(卷五),第三冊,頁507&*故宮書畫圖錄,第十冊,頁17-18&*王時敏,江蘇太倉人,(西元一五九二-一六八0年)字遜之,號煙客,自稱西廬老人、西田主人、偶諧道人、歸村老農。性資穎異,淹雅博物,畫為清四大家之一。 此幅仿王蒙筆,層山疊翠,一澗中分。幅右下叢樹中置一草堂,高士揮扇對庭前舞鶴。皴山石以渴筆牛毛皴,下筆穩健,用墨由淡入深,層層皴染,通幅筆墨綿密而精工,學王蒙甚得其穩重蒼鬱之趣,畫成於康熙丁未(一六六七年),時年七十五。 &* The talented and learned Wang Shih-min was one of the “Four Masters of the Ch’ing Dynasty.” He was from T’ai-ts’ang, Kiangsu. His style-name was Hsün-chih, and his sobriquet was Ephemeral Guest; he also called himself Old Man of Hsi-lu, Master of the Western Fields, On-hsieh Taoist, and Old Farmer Heading Home. This landscape after the Yüan dynasty painter Wang Meng (ca.1308-1385) depicts layers of mountains bisected by a mountain torrent. In the thatched pavilion in the grove of trees in the lower right, a gentleman sits waving a fan, watching a dancing crane. The rocks and mountains are drawn in fine “ox hair” texture-strokes applied with a dry, firm brush; ink is applied in progressively darker layers. This work, executed in meticulous, detailed brushwork, successfully emulates the sedate, verdant qualities of Wang Meng’s paintings. It was completed in 1667, when the artist was seventy-five years of age. &*王時敏(1592-1680),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。性資穎異,淹雅博物,為清初四王之首。 本幅仿王蒙筆,層山疊翠,一澗中分。幅右下叢樹中畫一草堂,高士揮扇對庭前舞鶴。皴山石以渴筆牛毛皴,下筆穩健,用墨由淡入深,層層皴染,通幅筆墨綿密而精工,學王蒙甚得其穩重蒼鬱之趣。此幀成於丁未(1667),時年王時敏七十五歲。 (20110913)&*Wang Shimin, a native of Taicang in Jiangsu, had the style name Xunzhi; his sobriquets were Yanke, Xilu laoren, Xitian zhuren, Ouxie daoren, and Guicun laonong. Talented by disposition and unusually gifted, he delved into leisurely pursuits and studies, becoming head of the Four Wangs of the Early Qing. This landscape after the Yuan dynasty painter Wang Meng depicts layers of mountains bisected by a mountain torrent. In a thatched pavilion in the grove of trees in the lower right sits a lofty scholar waving a fan and watching a dancing crane. The rocks and mountains are depicted in fine “ox-hair” texture strokes applied with a dry, firm brush; ink was rendered in progressively darker layers. This work, executed in meticulous and detailed brushwork, successfully emulates the sedate, verdant qualities of Wang Meng’s paintings. It was completed in 1667, when Wang Shimin was 75 by Chinese reckoning. (20110913)