清王時敏倣黃公望山水 軸
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- 資料識別：
- 故畫000684N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 王時敏
- 主題與關鍵字：
- 山徑 籬笆、圍牆 茅草屋 房舍 瀑布 溪澗、湍泉 江河、湖海
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清聖祖康熙九年（1670）
- 格式：
- 本幅 147.8x67.4公分、全幅 97公分
- 關聯：
- 石渠寶笈續編（養心殿），第二冊，頁1143&*故宮書畫錄（卷五），第三冊，頁506&*故宮書畫圖錄，第十冊，頁21-22&*王時敏（西元一五九二－一六八○年），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、歸村老農等。生既天資穎異，加上好學精勤，家中又富於收藏，所以博學淹雅，除善詩文書法外，對於山水畫特有領悟，一生尊崇黃公望，精研力學其畫法，獲得出藍之稱譽。他的畫以構圖複雜為特色，重山峻嶺、千村萬樹，都能安排得層次井然，令人宛然有身入實境之感。&* Wang Shih-min, a native of T’ai-ts’ang in Kiangsu, was a man of unusual natural talent in art and a dedicated and diligent student. His family possessed a rich collection of art. Consequently, his learning was deep and refined, and, in addition to being skilled at poetry, prose and calligraphy, he particularly excelled at the art of landscape painting. Throughout his life, he revered the Yüan dynasty master Huang Kung-wang (1269-1354), intensively and successfully studying his painting method. Compositional complexity was a special feature of Wang’s paintings. Layered mountains and folded peaks, numerous villages, and myriad trees were all orderly arranged to give the viewer a feeling of actually being able to enter the landscape.&*1.陳昱全，〈清王時敏倣黃公望山水〉，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342。 &*本幅近景描繪山屋錯落，林木繁密，溪水湍流之景。隔著山嵐雲霧之後，是三角形層層向後疊加的龐大山體。以濕潤、綿長的披麻皴法勾勒岩石與山體輪廓，再罩染赭石和汁綠，使畫面更為明亮並具裝飾性。本幅母題、構圖、山體構成與〈倣黃公望臨董源夏山圖〉相似。而植被茂盛，山體渾厚，土石平臺遍布，加以披麻皴法與側筆點染的苔點，接近明清畫家對黃公望「峰巒渾厚，草木華滋」的認識。此軸為友人覲翁先生，作於康熙庚戌（1670）。(20110609)&*The foreground scenery of this painting depicts scattered mountain homes amongst dense forests and a rushing stream. Behind and separated by peaks in clouds and mists are layers of triangular forms receding back to create a massive mountain. Moist and continuous hemp-fiber texture strokes outline the rock forms and peak shapes, to which washes of ochre and vegetable green were added, making the painting even brighter and more decorative. The construct of mountain forms, composition, and motifs is similar to Wang Shimin’s “Copying Huang Gongwang’s Imitation of Dong Yuan’s ‘Summer Mountains.’” And the lush vegetation, naturally powerful mountain forms, scattered flat outcroppings, hemp-fiber texture-stroke method, and moss dots done with a slanted brush are similar to the understanding among Ming and Qing dynasty painters of Huang Gongwang’s style as “Peaks and ridges natural and powerful, grasses and trees lush and moist.” This painting was done for Wang Shimin’s friend, Jinweng, in 1670.(20110609)
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
